Enfilade

Conference | Discovering Dalmatia IV

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

From H-ArtHist, with lots more information available from the conference programme:

Discovering Dalmatia IV
Institute of Art History – The Cvito Fisković Centre, Split, Croatia, 22–24 November 2018

The Discovering Dalmatia conference, to be held from 22 to 24 November 2018 at the Institute of Art History – The Cvito Fiskovic Centre in Split, is the fourth installment related to our interdisciplinary project Dalmatia: A Destination of the European Grand Tour in the 18th and the 19th Century. This year, alongside the traditional papers dedicated to the integration of knowledge about Dalmatia’s historical urban landscape, based on the travel writing of artists and scientists who visited it over the course of their travels, we would like to open the conference to another group of themes.

We have been inspired by the Institute’s new project, The Vocabulary of Classical Architecture, which is supported by the Croatian Science Foundation and conducted in collaboration with the Institute of Croatian Language and Linguistics, to dedicate a part of the conference to researching variations in terminology relating to historical architectural forms in Dalmatia. In addition, this year’s programme includes the presentation of two extensive garden-related projects focused on two incredibly important Croatian sites. One is dedicated to the gardens of the Benedictine Monastery and Maximilian’s summer residence on the island of Lokrum, across from Dubrovnik. These gardens form part of the city of Dubrovnik, which is itself on UNESCO’s list of World Heritage Sites. The second study, meanwhile, gave rise to the extraordinary restoration project of the classicist garden of the Garagnin-Fanfogna family, on the mainland side of Trogir, right beside the historical walls of this Romanesque-Gothic town, which is also on UNESCO’s World Heritage List.

Scientific Committee
Josko Belamaric (Institute of Art History – Cvito Fisković Centre Split)
Katrina O’Loughlin (ARC Centre of Excellence for the History of Emotions UWA)
Ana Sverko (Institute of Art History – Cvito Fisković Centre Split)
Colin Thom (The Bartlett School of Architecture, London)
Elke Katharina Wittich (Fresenius University of Applied Sciences, AMD Hamburg)

T H U R S D A Y ,  2 2  N O V E M B E R  2 0 1 8

9.30  Registration and introduction

10.00  Morning Session
Moderators: Josko Belamaric and Sinisa Runjaic
• Antonia Tomic, The Adoption and Transformation of the Meaning of Ancient Architectural Terminology during the Expansion of Christianity
• Antonia Vodanovic, The Pentagram in the Context of the Traditional Architecture of the Makarska Coast
• Jasenka Gudelj and Petar Strunje, The Eastern Adriatic Coast and the Architectural Vocabulary of the Renaissance
• Croatian Glossary of Classical Architecture (KLAS)

12.00  Internal KLAS workshop / Visit to the Ethnographic Museum

14.30  Break

17.00  Afternoon Session
• Mara Maric, Gardens of the island Lokrum during the Habsburgs
• Ivan Vigjen, An Overview of the Current Research on the Benedictine Monastery and Maximilian’s Residences on Lokrum, 1986–2018
• Igor Belamaric and Ana Sverko, The Restoration of the Garagnin-Fanfogna Park in Trogir

F R I D A Y ,  2 3  N O V E M B E R  2 0 1 8

10.00  Morning Session
Moderators: Danko Zelic and Sanja Zaja Vrbica
• Sarah Rengel, Writing the ‘Inner Lives’ of the East: Encounters between Women in the Work of Female Travel Writers
• Elke Katharina Wittich, Stones and Costumes: Subjects of Interest in Alberto Fortis‘s Viaggio in Dalmazia
• Colin Thom, ‘This Knotty Business’: The Making of Robert Adam’s Spalatro (1764) Revealed in the Adam Brothers’ Grand Tour Letters

11.45  Break

14.00  Afternoon Session
Moderators: Ana Sverko and Colin Thom
• Sanja Zaja Vrbica, Highlands and Islands of the Adriatic: Dubrovnik in Andrew Archibald Paton’s 1849 Text
• Josip Belamaric, Jean Baptiste Van Moer (1819–1884), Images of the Peristyle of Diocletian’s Palace
• Hrvoje Grzina, 19th-Century Dalmatia Inverted in Camera: Photographic Glass Plate Negatives by Franz Thiard de Laforest

16.00  Tour of Diocletian’s Palace

S A T U R D A Y ,  2 4  N O V E M B E R  2 0 1 8

10.00  Visit to the Museum of Fine Arts

12.00  Closing Reception

New Book | Matteo Bottigliero: La produzione scultorea

Posted in books by Editor on November 22, 2018

Published by Nuova Cultura and available from Artbooks.com:

Manuela D’Angelo, Matteo Bottigliero: La produzione scultorea tra fonti e documenti (1680–1757) (Roma: Nuova Cultura, 2018), 446 pages, ISBN: 978-8833650906, $75.

Il volume ripercorre le tappe della carriera artistica di Matteo Bottigliero, protagonista della scultura napoletana del Settecento, contribuendo a precisare gli sviluppi delle relazioni maturate con i maggiori artisti della scena partenopea. La ricostruzione del catalogo delle opere è stata condotta attraverso una rigorosa indagine documentaria, una revisione delle fonti e degli studi sui protagonisti del panorama scultoreo napoletano del ’700, da Lorenzo Vaccaro a Francesco Solimena, da Ferdinando Sanfelice a Domenico Antonio Vaccaro. L’itinerario dell’artista è riemerso pertanto all’attenzione degli studi, sia in relazione al complesso intreccio dei rapporti tra centro e periferia, che all’ambiente romano.

Manuela D’Angelo, dottore di ricerca in Metodi e Metodologie della Ricerca Archeologica, Storico-Artistica e dei Sistemi Territoriali (Università degli Studi di Salerno), ha al suo attivo saggi sulla scultura napoletana del Settecento, rivolti ad analizzare, su base documentaria, le strette relazioni tra le botteghe dei maggiori artisti attivi in ambito partenopeo. Ha collaborato al volume Il collezionismo del cardinale Tommaso Ruffo tra Ferrara e Roma (2013) e al catalogo della mostra Ritorno al Cilento (2017). Ha acquisito esperienze presso il distretto ad Alta Tecnologia dei Beni Culturali – DATABENC in merito al progetto Cultural Heritage Information System (CHIS) e di catalogazione all’interno del Consorzio Glossa di Napoli.

New Book | Music and Power in the Baroque Era

Posted in books by Editor on November 21, 2018

From Brepols:

Rudolf Rasch, ed., Music and Power in the Baroque Era (Turnhout: Brepols, 2018), 463 pages, ISBN: 978-2503580715, $150.

Music always functions in a specific environment and, viewed from the other side, environments use music to confirm and strengthen their identities. Institutions of power have in all times employed music to present themselves to the outside world, alongside other means such as architecture, fine arts, design and fashion. The present volume brings together a number of studies that all deal, in one way or another, with the question of how power was implemented in music in what is called the Baroque Era, roughly the seventeenth century and the first half of the eighteenth. The essays can be grouped under four main headings: court opera, ceremonial music, ‘musicians’, and miscellaneous studies. Several essays discuss court opera, one of the most conspicuous musical forms with which a monarch could display his power. Music could also accompany festivities and ceremonies of all sorts, of very different kinds of institutions, courtly, civil, or ecclesiastical. Not only sovereign rulers could employ music to confirm their power, also lower-ranking powers such as nobility often invested in music in order to gain prestige. Various studies highlight this aspect of ‘music and  power’. Finally, there are studies that deal with more general questions, such as the representation of power in Baroque opera, dedications of musical works to royals and other patrons, and the social status of musicians as they are positioned between patrons and public.

Rudolf Rasch taught theory and the history of music at the Department of Musicology of Utrecht University for many years. Among his interests are tuning and temperament, the musical history of the Netherlands, the history of music printing and publishing, and the works of composers such as Corelli, Vivaldi, Geminiani and Boccherini. He is the general editor of the Complete Edition of the Works of Francesco Geminiani (Bologna: Ut Orpheus Edizioni).

C O N T E N TS

R. Strohm, Emblems and Problems of Rulership in Early Modern Opera
A. De Feo, I libretti encomiastici di Giovanni Andrea Moniglia: Dalle corti di Firenze e Vienna ai teatri veneziani
M. Klaper, ‘La piu bella festa, che in teatro serrato, si sia veduta in Firenze’: Francesco Cavalli compone per la corte medicea
O. Jesurum, I soggiorni romani di Francesco Galli Bibiena
R. Erkens, Accounting for Opera: Financing Theatre Seasons on Roman Stages in the 1720s
D. Blichmann, The Stuart-Sobieska Opera Patronage in Rome: Political Propaganda in the Teatro Alibert, 1720–1823
A. Giust, Dalla corte al teatro: l’opera italiana in Russia al tempo di Elisabetta Petrovna (1741–1762) con uno sguardo al regno di Caterina II
A. Robinson, Music and Politics in the Entry of Maria de’ Medici into Avignon, 19 November 1600
S. Ciofli, Music and Splendour in Roman Graduation Ceremonies
R. Rawson, Suffering and Supplication as Emblems of Power in Music Relating to the 1683 Ottoman Siege of Vienna
C. Palliccia, Le cantage natalizie per il Palazzo Apostolico fra tradizione musicale e politiche pontificie: Uno sguardo ai topoi della pace
A. Fiore, Musica, potere e devozione: Le celebrazioni del Corpus Domini a Napoli fra XVII e XVIII secolo
A. Palidda, Redivia sub optimo principe hilaritas publica: Music, Consensus, and Celebration in Habsburg Milan
N. Matsumoto, Pio Enea degli Obizzi, 1592–1674: Power and Authorship
J. Frankova, Wenzel Anton von Kaunitz-Rietberg and His Grand Tour: Inspiration for His Future Musical Patronage?
B. Gleason, Mounted Cavalry and Court Kettledrummers and Trumpeters, 1600–1750
B. Saglietti, Il potere della parola: Le prime autobiografie di musicisti germanofoni nella Grundlage einer Ehren-Pforte di Johann Mattheson (1740)
V. Anzani, In the Service of Elector Palatine Johann Wilhelm, 1690–1716: Castrati as Secret Agents and a Controversial Case of Diplomatic Immunity
G. Viverit, Giuseppe Tartini e l’aristocrazia: La formazione dei violinisti per le corti europee e per i mecenati privati
R. Rasch, Composers, Patrons and Dedications: From Arcangelo Corelli to Pietro Antonio Locatelli
Abstracts

Conference | The Roman Art World in the 18th Century

Posted in conferences (to attend) by Editor on November 21, 2018

From the conference flyer:

The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain
British School at Rome and the Accademia di San Luca, Rome, 10–11 December 2018

Organized by Adriano Aymonino, Carolina Brook, Gian Paolo Consoli, and Thomas Leo-True

This two-day conference focuses on the role of the Roman pedagogical model in the formation of British art and institutions in the long 18th century.

Even as Paris progressively dominated the modern art world during the 18th century, Rome retained its status as the ‘academy’ of Europe, attracting a vibrant international community of artists and architects. Their exposure to the Antique and the Renaissance masters was supported by a complex pedagogical system. The network of the Accademia di San Luca, the Académie de France à Rome, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a complete theoretical and educational model for a British art world still striving to create its own modern system for the arts. Reverberations from the Roman academy were felt back in Britain through a series of initiatives culminating in the foundation of the Royal Academy of Arts in London in 1768, which officially sanctioned and affirmed the Roman model.

This conference addresses the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome to 18th-century Britain. It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the exchange of ideas translated across cultural borders. The conference concludes a series of events celebrating the 250th anniversary of the 1768 foundation of London’s Royal Academy of Arts.

It is also part of a series of conferences and exhibitions focusing on the role of the Accademia di San Luca in the spread of the academic ideal in Europe and beyond, inaugurated in 2016 with an exhibition and conference on the relationship between Rome and the French academies, held at the Accademia di San Luca and at the Académie de France à Rome.

For additional information, please write to adriano.aymonino@buckingham.ac.uk or events@bsrome.it.

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

British School at Rome, Before the Royal Academy of Arts

9:45  Registration

10:00  Welcome: Stephen Milner (Director, BSR), Adriano Aymonino, Carolina Brook

10:35  Eleonora Pistis (Columbia University, New York), Visible and invisible Rome: British architectural education in the early eighteenth century and the Oxford Circle

11:10  Coffee break

11:45  Barbara Tetti (Sapienza Università di Roma), Roman influence on the development of the British academies: James Gibbs’ contribution

12:20  Ilaria Renna (Sapienza Università di Roma), La collezione di disegni dei Clerk of Penicuik e la School of St Luke di Edinburgo: Modelli classicisti romani in Scozia

13:00  Lunch break

14:30  Jason M. Kelly (Indiana University), The Dilettanti, art pedagogy, and Roman models for an art academy in London

15:05  Clare Hornsby (Independent Scholar, London), The role of the Society of Antiquaries as an ‘academy of classical taste’ in mid eighteenth-century London

15:45  Tea break

16:15  Alessandro Spila (Sapienza Università di Roma), L’Accademia delle Romane Antichità di Benedetto XIV e la Society of Antiquaries. Antiquaria istituzionale e dibattito architettonico fra Roma e Londra alla metà del XVIII secolo

16:50  Helen McCormak (University of Glasgow), Northern Italian painting and naturalism: Robert Strange, William Hunter, and the Royal Academy of Arts

17:25  Keynote by Robin Simon (University College London), Before the Royal Academy of Arts: The long search for an academy of arts in Britain

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

Accademia di San Luca, The Royal Academy of Arts and Beyond

9:30  Registration

9:45  Welcome by Francesco Moschini (Segretario Generale, Accademia Nazionale di San Luca)

10:00  Katherine McHale (University of St Andrews), ‘The Truest Model of Grace’: Giovanni Battista Cipriani in London academies

10:35  Flaminia Conti (Sapienza Università di Roma), Giovanni Battista Cipriani e Agostino Carlini: Classicismo e tradizione accademica italiana presso la Royal Academy of Arts

11:10  Coffee break

11:45  Donato Esposito (Independent Scholar, London), Building a canon: Roman Baroque art, Sir Joshua Reynolds, and the Royal Academy of Arts

12:20  Elena Carrelli (Biblioteca Nazionale Vittorio Emanuele III, Naples), British painters in Italy and the Royal Academy of Arts: Landscape painting between academic practice and scientific empiricism

13:00  Lunch break

14:30  Martin Postle (Paul Mellon Centre for Studies in British Art, London), Assembling the Antique: The role of the classical cast in the pedagogy of the Royal Academy of Arts, 1769 to 1780

15:05  Susanna Pasquali (Sapienza Università di Roma), Crosscurrents: Exchanges between British and Italian architects, 1757–1796

15:45  Final discussion

16:15  Tea break

16:50  Tour of the exhibition Roma-Londra: Scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica tra XVIII e XIX secolo at the Accademia Nazionale di San Luca

18:00  Concert, ContempoArtEnsemble in quartetto plays Sir Peter Maxwell Davies, Naxos Quartet No. 7, Metafore sul Borromini for String Quartet

New Book | Burlington House

Posted in books by Editor on November 20, 2018

Available from Distributed Art Publishers (DAP) . . .

Nicholas Savage, Burlington House: The Architectural History of the Home of the Royal Academy of Arts (London: Royal Academy of Arts, 2018), 368 pages, ISBN: 978-1910350805, £60 / $75.

On Charles II’s restoration to the throne in 1660, four of his supporters were provided with plots of land in a leafy suburb of London, on which to build their extravagant town palaces. The only one to survive—built for the poet and courtier Sir John Denham (1615–1669) and now situated in the heart of Piccadilly—became the home of the Royal Academy of Arts, its exhibitions and its Schools.

This significant study charts the history of the estate through its many owners, including the 3rd Earl of Burlington (1694–1753), who gave the house not only its name but also its influential character and distinctive architecture, which remains an unparalleled example of the Palladian style in England. Nicholas Savage’s thorough research studies 350 years of social and architectural history, as well as revealing the next phase in the life of the estate, with the joining up of Burlington House and James Pennethorne’s nineteenth-century neo-classical building that was constructed in its garden. This link opens up Burlington House as never before in a breath-taking redevelopment led by Sir David Chipperfield to celebrate the institution’s 250th anniversary.

The architectural historian Nicholas Savage is former Head of Collections at the Royal Academy of Arts and co-author of Genius and Ambition: The Royal Academy of Arts, London, 1768–1918 (RA Publications, 2015).

C O N T E N T S

Preface

1  Sir John Denham
2  The Earls of Burlington and Cork
3  The Cavendish Family
4  Her Majesty’s Office of Works
5  Royal Academy of Arts

Notes
Selected Bibliography and Further Reading
Photographic Acknowledgments
Index

The French Porcelain Society Journal 7 (2018)

Posted in journal articles by Editor on November 20, 2018

Image from the front cover: Vase ‘Théricléen’, formerly with gilt-bronze handles, hard-paste porcelain, painted in enamel colours and gilt. The side of the rim bears the Sèvres factory mark for 1844 and a printed label lettered “Given by His Majesty King Louis Philippe First, King of the French, to Wm. Standish Standish, ESQ., September 1844.” 51cm high, including an ormolu base 2.8cm high (The Bowes Museum, Barnard Castle, 1995.33).

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Copies can be ordered from the Society’s website:

Diana Davis, Oliver Fairclough and John Whitehead, eds., French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums. The French Porcelain Society Journal 7 (2018), 282 pages, £20 UK, £30 overseas.

The French Porcelain Society is delighted to announce the publication of its new journal French Porcelain in the Nineteenth Century, 1789–1918: Makers, Markets and Museums.  Dedicated to the porcelain specialist Anthony du Boulay, the journal has been edited by Diana Davis, Oliver Fairclough and John Whitehead. Thirteen peer-reviewed articles, fully illustrated in colour and black and white, cover, among much else, topics such as porcelain made in the service of the French Revolution, the formation of outstanding British collections of French porcelain by George Watson-Taylor and Lady Dorothy Nevill, the influence of the historian Baron Jean-Charles Davillier, the growth of the new museums and the role of the dealer in decorative art. Towering over the whole is Alexandre Brongniart, with articles on the Expositions des Produits de l’Industrie française and his influence on the ceramics collection at the little-known Museum of Practical Geology in London’s Jermyn Street. Other contributions discuss technical advances at the Sèvres manufactory during the nineteenth century, Paris porcelain, nostalgia for ‘vieux Sèvres’ and ‘vieux Saxe’ in France, a ceramics conundrum of grand vases, a royal gift from Louis Philippe to the Standish family, and, leading into the twentieth century, the ceramics of Seraphim Soudbinine.

C O N T E N T S

• Tom Stammers, Historian, Patriot and Paragon of Taste: Baron Jean-Charles Davillier (1823–83) and the Study of Ceramics in Nineteenth-Century France
• Iris Moon, Mirabeau in Biscuit: Political Reputations and the Changing Aesthetics of Porcelain during the French Revolution
• Antoine d’Albis, Les progrès techniques à Sèvres au XIXe siècle
• Elodie Goëssant, Imitator or Connoisseur? A Study of the Sèvres Porcelain Collection of George Watson Taylor, Esq., MP (1771–1841)
• Tamara Préaud with Aileen Dawson, Alexandre Brongniart and the Expositions des Produits de l’industrie française, 1819–44
• Susan Newell, Alexandre Brongniart, Museological Muse? Reflections on Brongniart’s Influence on the Formation of the Ceramics Collection at London’s Museum of Practical Geology, c. 1850
• Howard Coutts, Louis Philippe’s Gifts of Sèvres Porcelain to the Standish Family of Duxbury Hall, Lancashire, and Cocken Hall, County Durham
• Régine de Plinval de Guillebon, De la Porcelaine fabriquée à Paris à la Porcelaine décorée à Paris Evolution pendant la première moitié du XIXe siècle
• Audrey Gay-Mazuel, Nostalgie pour le ‘vieux Sèvres’ et le ‘vieux Saxe’: Les lignes rocailles de la porcelaine de Paris au XIXe siècle
• Caroline McCaffrey-Howarth, Reclaiming Her Scandalous Past: Lady Dorothy Nevill (1826–1913) as a Collector of Sèvres Porcelain
• Diana Davis, From Private to Public: A Dihl and Guérhard ‘Sabines’ Vase
• Bet McCleod and John Whitehead, A Grand Confusion of Sèvres Vases
• Ekaterina Khmelnitskaya, Seraphin Soudbinine: From Rodin’s Assistant to Ceramic Artist

New Book | La griffe du peintre

Posted in books by Editor on November 19, 2018

From Le Seuil:

Charlotte Guichard, La griffe du peintre: La valeur de l’art, 1730–1820 (Paris: Le Seuil, 2018), 352 pages, ISBN: 978-2021402315, 31€.

Comment le nom de l’artiste est-il devenu un élément clef de la valeur symbolique et commerciale des œuvres ? La question est au cœur de cette enquête novatrice sur la signature en peinture. C’est à Paris, entre les années 1730 et 1820, que se déploie cette enquête richement illustrée, lorsque s’instaurent les institutions modernes des mondes de l’art : salons et expositions publiques, ventes aux enchères, musées. Les peintres français (Jean-Siméon Chardin en tête) se mettent à apposer leur nom sur les tableaux alors même que le nom de l’artiste devient un élément clef qui organise les écrits sur l’art : critiques, catalogues, cartouches et cartels, au point qu’un contemporain constate alors, avec dépit, que les amateurs se mettent à acheter « des noms, et non plus des œuvres ».

Mais pourquoi placer ainsi son nom sur un panneau de bois ou sur une toile ? La tradition est ancienne, et remonte à l’Antiquité. Pourtant, les peintres de l’âge des Lumières surent investir le nom de significations nouvelles. À Paris, le marché pour leurs peintures s’était élargi, avec la multiplication des ventes aux enchères, et ils ne pouvaient plus se contenter des cercles étroits de la commande princière ou celle des riches élites. Il fallait susciter le désir de consommation au moment où un premier capitalisme commercial fondé sur le luxe et sur la mode connaissait un essor sans précédent avant de s’imposer aux sociétés européennes au siècle suivant. La signature fut ce lieu, dans le tableau, où la valeur pouvait se concentrer et perdurer, où le culte de l’artiste pouvait matériellement se déposer.

Charlotte Guichard est historienne de l’art, directrice de recherche au CNRS et professeure attachée à l’École normale supérieure. Spécialiste des cultures visuelles et de l’art des Lumières, elle a publié Les Amateurs d’art à Paris au XVIIIe siècle (Champ Vallon, 2008) et Graffitis. Inscrire son nom à Rome. XVIe-XIXe siècle (Seuil, 2014).

Exhibition | De Vouet à Boucher

Posted in books, catalogues, exhibitions by Editor on November 19, 2018

Now on view at Musée des Beaux-Arts d’Orléans:

De Vouet à Boucher, au cœur de la collection de Motais de Narbonne
Musée des Beaux-Arts d’Orléans, 15 September 2018 — 13 January 2019

Curated by Olivia Voisin and Viviane Mesqui

Le musée des Beaux-Arts d’Orléans présentera du 15 septembre 2018 au 13 janvier 2019 l’intégralité de la collection d’Héléna et de Guy Motais de Narbonne dans une exposition originale plongeant au coeur de l’univers des collectionneurs : entre culture muséale et connoisseurship, les Motais de Narbonne ont rassemblé 80 tableaux des XVIIe et XVIIIe siècles, italiens et français, résolument tournés vers l’histoire.

Leur collection, qui par ses artistes et par ses sujets entre en résonnance avec la collection de peintures anciennes du musée des Beaux-Arts d’Orléans, sera montrée pour la première fois au public dans son intégralité, en dialogue avec des oeuvres de collections publiques ou privées.

Cette exposition se place sous le parrainage de Pierre Rosenberg, membre de l’Académie française et grand connaisseur de la collection Motais de Narbonne, en collaboration avec de nombreux historiens de l’art. Tout au long du parcours, le visiteur pénétrera dans l’intimité d’une collection privée vivante, rythmée par les histoires et les coups de coeur qui ont conduit à sa constitution. Les Motais de Narbonne partagent avec cette exposition non seulement l’exceptionnelle collection qu’ils ont rassemblée, mais également une part de l’histoire intime qui se tisse entre un amateur et un tableau. L’émotion, les motifs insolites et surprenants occupent ainsi une place particulière dans le coeur d’Héléna et de Guy Motais de Narbonne, stimulant leur regard et générant parfois une acquisition. De même, leur vif intérêt pour les musées, qui a joué un rôle déterminant dans la formation de leur regard et de leur goût, ponctue le parcours par des rapprochements avec des peintures qui les ont inspirés.

The press kit (dossier de presse) is available here»

Viviane Mesqui and Pierre Rosenberg, De Vouet à Boucher, au coeur de la collection Motais de Narbonne (Heule: Snoeck, 2018), 263 pages, ISBN: 978-9461614742, $50.

New Book | The Art of Armenia: An Introduction

Posted in books by Editor on November 19, 2018

From Oxford UP:

Christina Maranci, The Art of Armenia: An Introduction (Oxford University Press, 2018), 272 pages, ISBN: 978-0190269005, $40.

Though immediately recognizable in public discourse as a modern state in a political ‘hot zone’, Armenia has a material history and visual culture that reaches back to the Paleolithic era. This book presents a timely and much-needed survey of the arts of Armenia from antiquity to the early eighteenth century CE. Divided chronologically, it brings into discussion a wide range of media, including architecture, stone sculpture, works in metal, wood, and cloth, manuscript illumination, and ceramic arts. Critically, The Art of Armenia presents this material within historical and archaeological contexts, incorporating the results of specialist literature in various languages. It also positions Armenian art within a range of broader comparative contexts including, but not limited to, the ancient Mediterranean and Near East, Byzantium, the Islamic world, Yuan-dynasty China, and seventeenth-century Europe. The Art of Armenia offers students, scholars, and heritage readers of the Armenian community something long desired but never before available: a complete and authoritative introduction to three thousand years of Armenian art, archaeology, architecture, and design.

Christina Maranci is Arthur H. Dadian and Ara T. Oztemel Professor of Armenian Art at Tufts University, and a specialist on the medieval era. She has published and lectured widely, having authored three previous monographs and over seventy essays, articles, and reviews. Her work combines scholarship on the history of Armenian art and architecture with advocacy for at-risk Armenian heritage, particularly medieval monuments in the Republic of Turkey.

C O N T E N T S

Preface
Introduction

1  The Art of Ancient Armenia
2  Art of the Early Medieval Era
3  The Age of the Kingdoms
4  The Art of Armenian Cilicia
5  Greater Armenia in the Twelfth to Fifteenth Centuries
6  Art, Empire, and Diaspora (the Fifteenth to Eighteenth Centuries)
7  Postscript: Memory and Heritage

Bibliography
Index

Exhibition | Armenia!

Posted in books, catalogues, exhibitions by Editor on November 18, 2018

Altar Frontal, detail, New Julfa, 1741; gold, silver, and silk threads on silk (Mother See of Holy Etchmiadzin, Armenia; photo by Hrair Hawk Khatcherian and Lilit Khachatryan).

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Press release (20 September 2018) for the exhibition now on view at The Met:

Armenia!
The Met Fifth Avenue, New York, 22 September 2018 — 13 January 2019

Curated by Helen Evans, with C. Griffith Mann and Constance Alchermes

Armenia! explores the arts and culture of the Armenians from their conversion to Christianity in the early fourth century through their leading role on international trade routes in the 17th century. The exhibition emphasizes how Armenians developed a distinctive national identity in their homeland at the base of Mt. Ararat (widely accepted as the resting place of Noah’s Ark) and how they maintained and transformed their traditions as their communities expanded across the globe.

Kütahya Vessel, 18th century, stonepaste; polychrome painted under transparent glaze, 6.7 cm high (New York: The Metropolitan Museum of Art, 02.5.45).

More than 140 opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, liturgical furnishings made of precious materials, khachkars (cross stones), church models, and printed books demonstrate Armenia’s distinctive imagery in their homeland and other major Armenian sites, from the Kingdom of Cilicia on the Mediterranean to New Julfa, in Safavid Persia. Select comparative works display Armenian interaction with other cultures. Major Armenian repositories of their culture provide almost all the works in the exhibition. Most are on view in the United States for the first time; many have not traveled for centuries.

Armenia! focuses on major Armenian centers of production from their homeland west and east. It includes images of Armenians, from self-portraits to depictions of male and female rulers, donors, theologians, and historians. Special attention is given to works by major artists such as T’oros Roslin, Sargis Pidzak, Toros Taronatsi, and Hakob of Julfa working in the Armenian homeland, the Kingdom of Cilicia, and New Julfa.

More than half of the works on display are on loan from The Republic of Armenia with the support of The Ministry of Culture. Imposing liturgical works are coming from the Mother See of Holy Etchmiadzin, the primary site of the Armenian Church. In Yerevan, the ‘Matenadaran’ Mesrop Masthots` Institute – Museum of Ancient Manuscripts is lending exceptional manuscripts, and the History Museum of Armenia is lending monumental church sculptures. The Holy See of Cilicia in Lebanon, the Armenian Patriarchate of Jerusalem, and the Armenian Mekhitarist Congregation in Venice are the other major Armenian religious communities lending exceptional works. Armenian collections lending select works are the Calouste Gulbenkian Museum in Portugal and in America, the Diocese of the Armenian Church (Eastern) (New York); the Armenian Museum of America (Boston); and the Alex and Marie Manoogian Museum (Southfield, Michigan). Additional works are coming from The Met and other American and European institutions.

Photographs of Armenian architecture and landscapes by noted Armenian-Canadian photographer Hrair Hawk Khatcherian and his assistant Lilit Khachatryan will provide context for the works in the exhibition, in the catalogue, and on the exhibition page of the website.

The exhibition was organized by Helen C. Evans, the Mary and Michael Jaharis Curator of Byzantine Art, with the support of C. Griffith Mann, the Michel David-Weill Curator in Charge, Department of Medieval Art and The Cloisters, and the assistance of Constance Alchermes, Research Assistant. Exhibition design is by Michael Langley, Exhibition Design Manager; graphics are by Chelsea Amato and Morton Lebigre, Graphic Designers; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers.

The exhibition is made possible by The Hagop Kevorkian Fund. Additional support is provided by the Carnegie Corporation of New York, the Michel David-Weill Fund, the Armenian General Benevolent Union, The Giorgi Family Foundation, The Hirair and Anna Hovnanian Foundation, the Karagheusian Foundation, The Nazar and Artemis Nazarian Family, the Ruddock Foundation for the Arts, The Strauch Kulhanjian Family and The Paros Foundation, Aso O. Tavitian, and the National Endowment for the Arts.

The catalogue is distributed by Yale UP:

Helen Evans, ed., Armenia: Art, Religion, and Trade in the Middle Ages (New York: The Metropolitan Museum of Art, 2018), 352 pages, ISBN: 978-1588396600, $65.

As the first people to officially convert to Christianity, Armenians commissioned and produced astonishing religious objects. This sumptuous volume depicts and contextualizes the compelling works of art that defined the rich and complicated culture of medieval Armenians, including carvings, liturgical furnishings, beautifully illustrated manuscripts, gilded reliquaries, exquisite textiles, printed books, and more. Situated at the center of trade routes that connected the East and West during the Middle Ages, Armenia became a leading international trade partner for Seljuk, Mongol, Ottoman, and Persian overlords, while also serving as a powerful ally to Byzantium and European Crusader states. Written by a team of international scholars, with contributions from Armenian religious leaders, this book will stand as the definitive text on the art and culture of medieval Armenia.

Helen C. Evans is Mary and Michael Jaharis Curator of Byzantine Art in the Department of Medieval Art and The Cloisters at The Metropolitan Museum of Art.

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