Exhibition | Prints of Darkness: Goya and Hogarth
Left: Francisco José de Goya y Lucientes, Bobalicón (Silly Idiot), detail, 1864 (Manchester Art Gallery). Right: William Hogarth, The Enraged Musician, detail, 1741 (The Whitworth, The University of Manchester).
◊ ◊ ◊ ◊ ◊
Now on view at The Whitworth:
Prints of Darkness: Goya and Hogarth in a Time of European Turmoil
The Whitworth, The University of Manchester, 7 July 2018 — August 2019
Curated by Gillian Forrester
Francisco José de Goya y Lucientes (1746–1828) and William Hogarth (1697–1764) were the most remarkable artists of their times. Both were extremely successful portrait and history painters, but arguably their most compelling works were the uncommissioned prints they made with dazzling technical virtuosity, using line-engraving (Hogarth) and a combination of etching and aquatint (Goya). Whilst the artists were not working contemporaneously—Hogarth was fifty years old when Goya was born and died twenty years later—and never met, Goya was almost certainly familiar with Hogarth’s prints, and there are strong affinities between their works. Hogarth and Goya were both outsiders who cast their candid gazes on their dysfunctional societies. Poverty, homelessness, warfare, violence, cruelty, sexual abuse and human trafficking, social inequity, political corruption, racism, superstition, hypocrisy, rampant materialism, nationalism, mental illness, and alcoholism: all were subjected to their forensic scrutiny and no topic was off-limits. Simultaneously attractive and repellent, these challenging prints provoke a spectrum of responses, including shock, discomfort, laughter, and empathy, raising profound questions about the ethics of representation and viewing. The scenarios that they unflinchingly depicted are troublingly familiar to the contemporary viewer, eliciting an embarrassed contemplation of their own society, and themselves.
This exhibition features 100 prints by Goya and Hogarth, selected from the stellar collections at the Whitworth and Manchester Art Gallery. Although both artists are celebrated and represented in museum collections throughout the world, this is the first exhibition to consider Hogarth and Goya in tandem, providing an opportunity to compare their extraordinary graphic work. The exhibition will feature 50 prints by Hogarth, all drawn from the Whitworth’s collection. Bookended by the South Sea Bubble and his final print, the Bathos, which he published the year he died, the selection includes the serial works—The Rake’s Progress, Marriage a-la Mode, the Times of the Day, and the Four Stages of Cruelty—as well as single prints, including his emblems of British national identity, O The Roast Beef of Old England (Calais Gate) and the Enraged Musician. A fine impression of the engraving of Hogarth’s self-portrait with his pug, Trump, has been lent by Andrew Edmunds. Drinking culture was a pervasive theme in Hogarth’s work, and Gin Lane, Beer Street, and A Midnight Modern Conversation will be included, accompanied by a Hogarth-themed punchbowl made in Liverpool in 1748. The exhibition will feature 50 prints by Goya, including impressions from all the four series, as well as two etchings made early in his career in 1778, Margaret of Austria and Moenippus Menipo Filosofo.
The exhibition is timely, as it takes place during the troubled run-up to Britain’s exit from the European Union, scheduled for 29 March 2019, and the accompanying fractious debates currently taking place in Europe and elsewhere regarding national identity. Hogarth and Goya both lived through extended periods of warfare with France, and Hogarth claimed to hate the French, although he was a frequent visitor to Paris and hired French engravers for his print series Marriage a-la Mode. Angry, troubled, and ambivalent, Hogarth seems to embody the tortured mind-set of Britain on the eve of Brexit.
The exhibition is organized by Gillian Forrester, Senior Curator of Historic Fine Art at the Whitworth.
The Burlington Magazine, July 2018
The eighteenth century in The Burlington:
The Burlington Magazine 160 (July 2018)
E D I T O R I A L
• Michael Hall, “At the Royal Academy of Arts,” p. 535. This is the Royal Academy’s year. The venerable London institution has celebrated its 250th anniversary by unveiling a redevelopment that has added seventy per cent more public space, staging a Summer Exhibition that has garnered five-star reviews, mounting an exhibition, The Great Spectacle, which traces the history of the annual exhibition since its inception in 1768, and publishing a monumental multi-author history of itself and its collections. . . .
A R T I C L E S
• Dorothea Diemer and Linda Hinners, “‘Gerhardt Meyer Made Me in Stockholm’: A Bronze ‘Bathing Woman’ after Giambologna,” pp. 545–53. Spurred by rivalry with French founders working for the Swedish Crown, in 1697 Gerhardt Meyer the Elder cast a bronze figure of a nude woman after a marble by Giambologna that had been in Sweden since 1632. It is inscribed ‘Me fecit Gerhardt Meyer Holmiae’.
R E V I E W S
• Laurel O. Peterson, Review of the exhibition Visitors to Versailles, 1682–1789 (Château de Versailles, 2017–18; The Metropolitan Museum of Art, 2018), pp. 582–84.
• Louis Cellauro and Gilbert Richaud, Review of the exhibition Jacques-François Blondel: An Enlightenment Architect in Metz (The Arsenal, Metz, 2018), pp. 584–86.
• Paul Taylor, Review of Susanna Berger, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton University Press, 2017), pp. 606–07.
• Gauvin Alexander Bailey, Review of the exhibition catalogue, Ilona Katzew, ed., Painted in Mexico / Pintado en México, 1700–1790: Pinxit Mexici (Prestel, 2017), pp. 607–08.
• Sophie Littlewood, Review of Donald J. La Rocca, How to Read European Armor (Metropolitan Museum of Art and Yale University Press, 2017), p. 613.
O B I T U A R I E S
• Andrew Wilton, Obituary of Malcolm Cormack (1935–2018), p. 617. When the Yale Center for British Art, New Haven, opened in 1977, Malcolm Cormack was its first Curator of Paintings. At Yale, and subsequently at the Virginia Museum of Fine Arts, he staged influential exhibitions on subjects ranging from William Blake to the Camden Town Group.
New Book | St Paul’s outside the Walls
From Cambridge UP:
Nicola Camerlenghi, St Paul’s outside the Walls: A Roman Basilica, from Antiquity to the Modern Era (Cambridge: Cambridge University Press, 2018), 350 pages, ISBN: 9781108429511, $125.
This volume examines one of Rome’s most influential churches: the principal basilica dedicated to St Paul. Nicola Camerlenghi traces nearly two thousand years of physical transformations to the church, from before its construction in the fourth century, to its reconstruction following a fire in 1823. By recounting this long history, he restores the building to its rightful place as a central, active participant in epochal political and religious shifts in Rome and across Christendom, as well as a protagonist in western art and architectural history. Camerlenghi also examines how buildings in general trigger memories and anchor meaning, and how and why buildings endure, evolve and remain relevant in cultural contexts far removed from the moment of their inception. At its core, Saint Paul exemplifies the concept of building as process, not product: a process deeply interlinked with religion, institutions, history, cultural memory and the arts. This study also includes state-of-the-art digital reconstructions synthesizing a wealth of historical evidence to visualize and analyze the earlier (now lost) stages of the building’s history, offering glimpses into heretofore unexamined parts of its long, rich life.
Nicola Camerlenghi is Assistant Professor of Art History at Dartmouth College, New Hampshire. A native of Italy and Switzerland, he has been a fellow at the Bibliotheca Hertziana and the Swiss Institute in Rome. His collaborative projects in the Digital Humanities have been awarded grants from the Kress Foundation.
C O N T E N T S
1 Paul’s Place in Rome: Tomb, Trophy, and the Basilica of the Constantinian Dynasty, ca. 67–386
2 The Basilica of the Theodosian Dynasty, 386–410
3 The Early Transformations, 410–700
4 A Fortress of Faith during the Heart of the Middle Ages, 700–1050
5 The Advent, Apogee, and End of St Paul’s Golden Age, 1050–1423
6 Rebirth and Modernization, 1423–1655
7 Restoring and Reconstructing St Paul’s during the Long Eighteenth Century, 1655–1823
Epilogue: The Basilica Is Dead, Long Live the Basilica!
Appendix A Reconciling the Evidence and Making the Model
Appendix B Carolingian-era Patronage
Exhibition | Herculaneum and Pompeii: Visions of a Discovery
Exhibition formerly in Chiasso, now on view at the National Archaeological Museum in Naples (MANN):
Herculaneum and Pompeii: Visions of a Discovery
m.a.x. Museum, Chiasso, Switzerland, 25 February — 6 May 2018
Museo Archeologico Nazionale di Napoli, 28 June — 30 September 2018
Curated by Pietro Giovanni Guzzo, Maria Rosaria Esposito, and Nicoletta Ossanna Cavadini
The 280th anniversary of the discovery of Herculaneum and the 270th anniversary of that of Pompeii are here celebrated with a completely original approach, by exploring the media and the methods with which the discoveries of the two sites were communicated through the visionary expressions of those who immediately intuited the implications of the discoveries and sought to promote the progress of the excavations and research into them. From the late eighteenth century to the early twentieth, from Goethe to Stendhal, William Gell, Giovanni Battista and Francesco Piranesi, and many drafters, engravers, and lovers of antiquity down to the Alinari brothers, this is an account of the passion for the excavations and precious archaeological finds and the desire to make known the discoveries through letters, hand-coloured sketchbooks, engravings, lithographs, drawings, reliefs, copperplates and gouaches, the first postcards, and daguerreotype photographs.
Pietro Giovanni Guzzo, et al., Ercolano e Pompei: Visioni di una scoperta / Herculaneum and Pompeii: Visions of a Discovery (Milan: Skira, 2018), 392 pages, ISBN: 978-8857238630 (Italian-English text), €38 / $68.
Exhibition | Montepulciano and the Eternal City
Now on view in Montepulciano:
Montepulciano and the Eternal City: Landscapes and Views from the Aesthetics of the Grand Tour to the Mid-Twentieth Century
Museo Civico – Pinacoteca Crociani di Montepulciano, 15 June — 7 October 2018
Curated by Roberto Longi
The exhibition, on view in the Crociani Civic Museum and Picture Gallery of Montepulciano from July 14th to October 7th, compares Rome and the Roman countryside with Montepulciano and its rural outskirts, through more than one hundred oil paintings, drawings, watercolours, and engravings by artists such as Labruzzi, Pacetti, Sartorio, Petrassi, Ranieri Rossi, and Ettore Roesler Franz. Of particular interest are works depicting the views of Rome and the Montepulciano countryside by foreign artists who saw the Grand Tour as a paradigm shift—the Spanish Juan Gimenez Martin, the English Samuel Prout, the Bavarian Karl Lindemann-Frommel, and the Swiss watercolourist Salomon Corrodi, who painted several views for Tsar Nicholas I and Queen Victoria.
In addition to the paintings, the exhibition includes a selection of materials which, carried by a servant, accompanied tourists on their long journeys, providing records of a time and a lifestyle: a travel writing desk, portable inkwells, medicine chests—essential in times of malaria—and tools used to prepare snacks for the journey. The noble traveller had to be perfect on all occasions; hence an iron for ties, a jewelry box, and a fragrance holder, as well as a scale for weighing coins and a travel chessboard to enliven any boring evenings at inns. A walking stick could serve as a good defense weapon or preserve a secret reserve of fine liqueur. The final section of the exhibition presents the working tools of the travelling artists: oil colours and watercolours boxes, palettes and materials for graphic techniques, travel sketchbooks, and folders. The exhibition relies on two important Roman collections and several private collections from Montepulciano.
Roberto Longi, Montepulciano e la Città Eterna: Paesaggi e vedute dall’estetica del Grand Tour alla metà del XX secolo (Rome: C&P Adver Effigi, 2018), 160 pages, ISBN: 978-8864339054, $43.
New Book | Giacomo Raffaelli (1753–1836)
From ArtBooks.com:
Anna Maria Massinelli, ed., with contributions by Massimo Alfieri, Laura Bianchini, and Ekaterina Yakovleva, Giacomo Raffaelli (1753–1836): Maestro di stile e di mosaico (Florence: Aska, 2018), 376 pages, ISBN: 978-8875422943, €110 / $150.
È un’opera monografica dedicata a un mosaicista romano: Giacomo Raffaelli, erede di una tradizione familiare nella produzione di paste vitree risalente alla metà del XVII secolo. Negli ultimi tre decenni del Settecento il suo studio in San Sebastianello, angolo Piazza di Spagna a Roma, divenne una meta obbligata per i sofisticati tourists d’Oltralpe e per la nobiltà europea che non mancava di acquistare placche, tavoli o gioielli ideati dal caposcuola del mosaico minuto romano. La fama raggiunta gli procurò riconoscimenti prestigiosi e nel 1804, su incarico del governo napoleonico, fondò una scuola di mosaico a Milano. Qui si trattenne fino al 1820 portando a compimento uno dei capolavori nel genere del mosaico minuto: la replica a grandezza naturale dell’ ‘Ultima cena’ di Leonardo da Vinci (Vienna, Minoritenkirche). I testi, corredati da ampi apparati documentari e iconografici esaminano l’intera produzione, a oggi nota. La vasta selezione di immagini a colori illustra mosaici e opere lapidee appartenenti a musei e collezioni private in Europa e negli Stati Uniti.
Exhibition | Precious Instruments, Distinguished Figures
Antonio Berti, Psaltery made for Maria Teresa Strozzi (1682–1748).
◊ ◊ ◊ ◊ ◊
Now on view at the Palace Venaria, near Turin:
Precious Instruments, Distinguished Figures: Music and Luthiery between the 17th and 20th Centuries in Europe
Venaria Reale, Torino, 31 May — 30 September 2018
Curated by Giovanni Accornero
The exhibition illustrates and compares four centuries of luthiery and collections, music and musicians, nobility and patronage.
Violins, violas, cellos, 5-course guitars, mandolins, lyre-guitar and psalteries made by master luthiers who were recognized and appreciated worldwide: Stradivari, Guarneri ‘del Gesù’, Amati, Guadagnini, Vinaccia, Fabricatore, Berti and Battaglia, Nadermann, Torres e Hauser—these were the fundamental Italian and European luthiers, an artistic craft that is inextricably connected the world over to the culture of ‘music making’. Precious musical instruments that on this ambitious stage move beyond craftsmanship to become genuine works of art.
It is a stimulating display that outlines a socio-cultural and artistic framework through a historical overview of around thirty musical instruments, most of which are exhibited for the first time since they are part of private collections. The instruments once belonged to famous figures: from exceptional musicians like Gaetano Pugnani, Niccolò Paganini, Charles Dancla, Yehudy Menuhin, Mauro Giuliani, Ramon Montoya, Andrés Segovia, Ida Presti, to major historical figures like the Emperor Leopold I of Habsburg, the Empress Maria Theresa of Naples and Sicily, princess Maria Teresa Strozzi, count Cozio di Salabue, countess Maria Beatrice Barbiano di Belgioioso Dal Pozzo della Cisterna, duchess Marie-Thérèse Charlotte of France, and queen Margherita of Savoy.
The exhibition is also an opportunity to familiarize the general public with the luthiery tradition of Turin that starting in the late 18th century, gained momentum (as the production in Cremona started to wane), and established itself on the European scene, a preeminence that remained unchanged for more than a century. It is a chance to rediscover the primacy of this region in yet another cultural sector.
Exhibition organized by: Consorzio Residenze Reali Sabaude in collaboration with the publishing house Edizioni Il Salabue
Exhibition | Furniture and Cabinetmakers at the Savoy Court
Luigi Prinotto, Chest with four drawers, depicting stories of Saint Bruno and the foundation of the Carthusian Order, 1736
(Private Collection)
◊ ◊ ◊ ◊ ◊
The exhibition at the Palace Venaria, near Turin, closed in June, but the catalogue is available from ArtBooks.com:
Genius and Skill: Furniture and Cabinetmakers at the Court of Savoy
Venaria Reale, Torino, 17 March — 15 June 2018
The exhibition aims to better define the history of furniture making in Piedmont between the 18th and 19th centuries through a display of 130 exceptional pieces crafted by the finest cabinet-makers and sculptors of the time—Luigi Prinotto, Pietro Piffetti, Giuseppe Maria Bonzanigo, and Gabriele Capello known as ‘Il Moncalvo’—some of which will be presented for the first time thanks to loans from important Piedmontese and international museums and collections.
The purpose of the exhibition is to familiarize the public with precious cabinetmaking and inlay works, emphasizing their significance, use, and transformations with technical and scientific insights and multimedia installations. The exhibition tells the story of an elegant, cultivated, and complex craft that developed in Turin to cater to the needs of important royal and aristocratic patrons, in conjunction with other arts.
Special care has been adopted to design a display that is accessible to disabled visitors, including scale models, touch tablets, olfactory islands, and an Italian Sign Language video-guide. Moreover, description panels and labels are written in the EasyReading font, which is highly readable and facilitates reading for dyslexic persons.
Organizing and Scientific committee: Cesare Annibaldi, Roberto Antonetto, Clelia Arnaldi di Balme, Elisabetta Ballaira, Enrico Colle, Stefania De Blasi, Silvia Ghisotti, Luisa Papotti, Carla Enrica Spantigati
Coordinated by Carlo Callieri
Cesare Annibaldi, Roberto Antonetto, et al, Genio e Maestria: Mobili ed Ebanisti alla Corte Sabauda tra Settecento ed Ottocento (Turin: Allemandi, 2018), 304 pages, ISBN: 978-8842224594, $70.
AWA and Art Restoration in Florence
“The Lady Who Paints,” an 11-minute video produced by Bunker Films, addresses the work of Advancing Women Artists Foundation, focusing on the Virgin Mary Presents the Christ Child to Santa Maria Maddalena de’ Pazzi by Violante Siries Cerroti, located in the sacristy of the church of Santa Maria Maddalena de’ Pazzi in Florence. Severely damaged in the 1966 flood, the painting was restored by Nicoletta Fontani and Elizabeth Wicks in 2016. More information is available in this book available from the AWA Foundation: I. Ciseri, J. Fortune, P. Masse, and E. Wicks, The Lady Who Paints: Violante Siriès Cerroti (1709–1783) (Pisa: Pacini Editore, 2016), 106 pages, ISBN: 978-8869951145 (English and Italian), €20.
◊ ◊ ◊ ◊ ◊
CAA’s listserv newsletter from yesterday noted this ArtNet News article:
Kate Brown, “How a Female-Led Art Restoration Movement in Florence Is Reshaping the Canon,” ArtNet News (12 July 2018).
Sometimes, all it takes is for someone to ask the right question.
That is exactly what Jane Fortune did on a visit to Florence 12 years ago. While touring the Renaissance city’s exquisite museums and fresco-covered churches, the American philanthropist began to wonder, “Where are the women?” Her search for an answer set Fortune on a passionate quest to restore the lost legacies and artworks of Florence’s forgotten female artists, digging into museums’ archives and dusty deposits with her organization, Advancing Women Artists (AWA). . .
Since the foundation launched more than 10 years ago, AWA has restored some 53 artworks. By September, that number will jump to 58. The nonprofit has become the go-to for Florentine curators who want to research their own collections, which house many works by women (AWA has inventoried 2,000 so far) that have been unseen for centuries. “That’s half the population that’s not being heard,” Fortune says. “I want to give them a voice.”
AWA has some ground rules for museums that engage them for help: If the work in question comes out of storage, it doesn’t go back into storage. It goes on the wall. And if a work needs to be restored, the vast majority of projects are carried out by female conservators.
Linda Falcone, the director of AWA, explains that the majority of restorers in Florence are in fact women, but that it was not always this way. The shift was caused by a devastating flood that struck in 1966, which led to the loss or damage of millions of artworks and books, including many masterpieces. A group of scholars, art students, and other art experts dubbed the “Mud Angels” flocked to the city to help with the restoration effort, as did the so-called “Flood Ladies”—female artists who donated art to replace lost masterworks.
Art historians like Kirsten Aschengreen Piacenti, who came from Denmark, were eager to help. In turn, they established a female-led network of experts, many of whom are still active today. Piacenti went on to become the head of Florence’s Museum Stibbert until 2012, and she is among an impressive number of female curators who work in the city’s institutions.
“It was the first time women began wearing trousers in Florence,” Falcone says. “Women’s liberation in Florence is deeply linked to the art restoration effort.” . . .
The full article is available here»
New Book | Visual Typologies
From Routledge (and now on sale for $120) . . .
Tara Zanardi and Lynda Klich, eds., Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices (New York: Routledge, 2019), 298 pages, ISBN: 978-1138200135, $150.
Visual Typologies from the Early Modern to the Contemporary investigates the pictorial representation of types from the sixteenth to the twenty-first century. Originating in longstanding visual traditions, including street crier prints and costume albums, these images share certain conventions as they seek to convey knowledge about different peoples. The genre of the type became widespread in the early modern period, developing into a global language of identity. The chapters explore diverse pictorial representations of types, customs, and dress in numerous media, including paintings, prints, postcards, photographs, and garments. Together, they reveal that the activation of typological strategies, including seriality, repetition, appropriation, and subversion has produced a universal and dynamic pictorial language. Typological images highlight the tensions between the local and the international, the specific and the communal, and similarity and difference inherent in the construction of identity. The first full- length study to treat these images as a broader genre, Visual Typologies gives voice to a marginalized form of representation. Together, the chapters debunk the classification of such images as unmediated and authentic representations, offering fresh methodological frameworks to consider their meanings locally and globally, and establishing common ground about the operations of objects that sought to shape, embody, or challenge individual and collective identities.
Tara Zanardi is Associate Professor of Art History, Hunter College, CUNY. Lynda Klich is Assistant Professor of Art History, Hunter College, CUNY.
C O N T E N T S
Contributors
Acknowledgements
Tara Zanardi and Lynda Klich, Introduction to Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices
Repeating, Borrowing, and Serializing
• Heather A. Hughes, Fashion, Nation, and Morality in English Allegorical Costume Prints, ca. 1620–40
• Sarah E. Buck, Bodies of Work in the Ancien Régime: The Costumes Grotesques by Nicolas I de Larmessin
• Elisabeth Fraser, The Color of the Orient: On Ottoman Costume Albums, European Print Culture, and Cross-Cultural Exchange
• Vanesa Rodríguez-Galindo, On and off the Tram: Contemporary Types and Customs in Madrid’s Illustrated and Satirical Press, 1874–98
Staging Place
• Eugenia Paulicelli, Venice: City of Fashion and Power in Giacomo Franco’s Habiti d’huomini et donne venetiane, ca. 1610
• Yu-chih Lai, Costuming the Empire: A Study on the Production of Tributary Paintings at the Qianlong Court in Eighteenth-Century China
• Denise Birkhofer, Enrique Díaz’s Parade of Progress: Toward a Streamlined Mexican Future
Performing the Documentary
• Emily Kathryn Morgan, ‘True Types of the London Poor’: Street Life in London’s Transitional Typology
• Maya Jiménez, The Myth of the Baiana in Nineteenth-Century Portrait Photography
• Lynda Klich, Circulating lo mexicano in Mauricio Yáñez’s Postcards
• Deborah Dorotinsky, It Is Written in Their Faces: Seri Women and Facial Painting in Photography
Materials of Typologies
• Natalia Majluf, Fashioning a Nation: Military Dress in Peruvian Independence, 1821–22
• Tara Zanardi, From Global Traveler to Costumbrista Motif: The Mantón de Manila and the Appropriation of the Exotic
• Victoria L. Rovine, Cloth, Clothing, and Colonial Power: France and West Africa at the Expositions
• Charlene K. Lau, Against ‘Fashion-Time’: Bernhard Willhelm, Regional Folk Dress, and the Contemporary
Unmasking Stereotypes
• Ashley Bruckbauer, Ambassadors à la turc: Assimilation and Dissimulation in Eighteenth-Century Images of French-Ottoman Diplomacy
• Leyla Belkaïd-Neri, The Transmediterranean Routes of Fashion: Between Material Expression and Artistic Representation
• Teresa Eckmann, Julio Galán and the Type: Fashioning a ‘Border’ Aesthetic
Enfilade 
leave a comment