New Book | Itch, Clap, Pox

Posted in books by Editor on March 25, 2019

From Yale UP:

Noelle Gallagher, Itch, Clap, Pox: Venereal Disease in the Eighteenth-Century Imagination (New Haven: Yale University Press, 2019), 288 pages, ISBN: 978-0300217056, $65.

A lively interdisciplinary study of how venereal disease was represented in eighteenth-century British literature and art

In eighteenth-century Britain, venereal disease was everywhere and nowhere: while physicians and commentators believed the condition to be widespread, it remained shrouded in secrecy, and was often represented using slang, symbolism, and wordplay. In this book, literary critic Noelle Gallagher explores the cultural significance of the ‘clap’ (gonorrhea), the ‘pox’ (syphilis), and the ‘itch’ (genital scabies) for the development of eighteenth-century British literature and art. As a condition both represented through metaphors and used as a metaphor, venereal disease provided a vehicle for the discussion of cultural anxieties about gender, race, commerce, and immigration. Gallagher highlights four key concepts associated with venereal disease, demonstrating how infection’s symbolic potency was enhanced by its links to elite masculinity, prostitution, foreignness, and facial deformities. Casting light where the sun rarely shines, this study will fascinate anyone interested in the history of literature, art, medicine, and sexuality.

Noelle Gallagher is Senior Lecturer in Eighteenth-Century Literature and Culture at the University of Manchester. She is the author of Historical Literatures: Writing about the Past in England, 1600–1740.

Lecture | Kevin Salatino, Chasing Casanova

Posted in lectures (to attend) by Editor on March 25, 2019

Next month at BGC:

Kevin Salatino, Chasing Casanova: Venice and the Grand Tour
Bard Graduate Center, New York, 3 April 2019

Kevin Salatino will speak at the Seminar in Renaissance and Early Modern Material Culture on Wednesday, April 3, at 6pm. His talk is entitled “Chasing Casanova: Venice and the Grand Tour.”

The Grand Tour was both finishing school and rite of passage for the British (male) aristocrat. As Samuel Johnson noted, “a man who has not been in Italy, is always conscious of an inferiority.” While Rome was “the great object,” Venice was an essential stop on the way. The floating city’s wondrous novelty, its reputation for license and luxury, and its much-touted devotion to liberty were compelling attractions for the Grand Tourist. Famous for its courtesans, its masked revelers, its mystery and secrecy, its appeal inevitably swung toward the sensual and the sexual. This talk addresses the British Grand Tourist’s experience of eighteenth-century Venice in the context of the erotic, through a close examination of that city’s art, as well as texts and cultural artifacts from both sides, Venetian and British.

Kevin Salatino is Chair and Curator of Prints and Drawings at the Art Institute of Chicago. He was previously Director of the Art Collections at the Huntington Library, Art Collections, and Botanical Gardens, San Marino, California; Director of the Bowdoin College Museum of Art, Brunswick, Maine; Curator and Head of the Department of Prints and Drawings at the Los Angeles County Museum of Art; and Curator of Graphic Arts at the Getty Research Institute. Salatino holds a BA from Columbia University and a PhD from the University of Pennsylvania. Among his publications are Incendiary Art: The Representation of Fireworks in Early Modern Europe (a revised French edition of which was recently published); Edward Hopper’s Maine; and Blue Boy and Company: European Art at The Huntington. He has published on artists as diverse as Henry Fuseli, Jacques-Louis David, Francisco Goya, Richard Pousette-Dart, and James Ensor, and has lectured extensively on subjects ranging from fireworks to the Grand Tour. Most recently, he curated the Art Institute exhibitions, Shockingly Mad: Henry Fuseli and the Art of Drawing; Gods and Superheroes: Drawing in an Age of Revolution; and Into the Void: Prints of Lee Bontecou.

Workshop | Antiquarian Science in the Scholarly Society

Posted in conferences (to attend) by Editor on March 24, 2019

A Priestess Speaking from within a Prehistoric Barrow in Drenthe, from Johan Picardt, Korte beschryvinge van eenige vergetene en verborgene antiquiteten (Amsterdam 1660), f. 47 (Rijksmuseum, RP-P-OB-77.857).

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From the project website:

Antiquarian Science in the Scholarly Society
Society of Antiquaries of London, 1–2 April 2019

Organized by Vera Keller and Anna Marie Roos

This is workshop II of the AHRC International Networking Grant: Collective Wisdom: Collecting in the Early Modern Academy. What was the relationship between archaeological fieldwork or antiquarianism and learned travel or the Grand Tour? What does collecting on tour say about the manner and scale of personal and institutional contacts between London and the scientific world of the Continent? What tools of natural philosophy were utilised to understand buildings and artefacts? What were the implications of the collecting of ethnographic objects for political dominance and Empire?

Ex libris of Z. C. von Uffenbach (Amsterdam: Rijksmuseum, RP-P-2015-26-1860).

Speakers include Philip Beeley (Oxford), Dominik Collet (Oslo), Luke Edgington-Brown (East Anglia), Dustin Frazier Wood (Roehampton), Vera Keller (Oregon), Chantel Grell (Versailles), Clare Hornsby (British School at Rome), Stephanie Moser (Southhampton), Staffan Müller-Wille (Exeter), Cesare Pastorino (Berlin), Anna Marie Roos (Lincoln), Edwin Rose (Cambridge), Martin Rudwick (Cambridge), Kim Sloan (British Museum), Alexander Wragge-Morley (NYU), Elizabeth Yale (Iowa).

A working session using sources from the Society of Antiquaries Library and Museum will also be part of the programme. The Society’s library is Britain’s oldest major research library for archaeology, architectural history, decorative arts (especially medieval), material culture, and the historic environment. It contains books, archives, manuscripts, prints, and drawings. Its Accredited museum collection—which was formed before the introduction of public museums and galleries in the mid-18th century—contains prehistoric, classical and medieval antiquities, seal matrices and impressions, and paintings. Full fee: £100 including lunch. Student/Concessions: £50 including lunch.

M O N D A Y ,  1  A P R I L  2 0 1 9

10:00  Registration

10:15  Welcome and Introduction by Vera Keller and Anna Marie Roos

10:20  Plenary Talk
• Stephanie Moser (Southampton) and Christian Hoggard (Aarhus), Visual Testimony: Images and Discipline-Building at the Society of Antiquaries of London

11:15  Egypt and ‘Scientific Antiquarianism’
Chair: Roey Sweet (University of Leicester)
• Chantal Grell (Université de Versailles), Tito Livio Burattini: A Seventeenth-Century Engineer and Egyptologist
• Anna Marie Roos (University of Lincoln), The First Egyptian Society, 1741–43

12:15  Lunch

1:00  The Republic of Letters, Scholarly Societies, and Antiquarianism (Seventeenth Century)
Chair: Lisa Skogh
• Vera Keller (University of Oregon), The Ottoman History of Letters
• Dominik Collet (University of Oslo), Weak Ties, Big Science: Challenges to ‘Blended Learning’ in Early Academic Collections
• Philip Beeley (University of Oxford), ‘The Antiquity, Excellence, and Use of Musick’: Ancient Greek Music and Its Reception in Late Seventeenth-Century Oxford
• Cesare Pastorino (Technische Universität, Berlin), The Features of Early Modern English Antiquarian Metrology

3:00  Coffee Break

3:15  The Republic of Letters, Scholarly Societies, and Antiquarianism (Eighteenth Century)
Chair: Jana Schuster (Cambridge)
• Dustin Frazier Wood (University of Roehampton), Antiquarian Science and Scientific Antiquarianism at the Spalding Gentlemen’s Society, 1710–55
• Clare Hornsby (British School at Rome), Winckelmann, the Descrizione della Villa dell’Em Alessandro Albani, and the Society of Antiquaries of London

4:15  Hands-On Session I

6:00  Reception

T U E S D A Y ,  2  A P R I L  2 0 1 9

10:00  Registration

10:30  Plenary Talk
• Kim Sloan (British Museum), Sloane’s Antiquities: Providing a ‘Body of History’ through Beads, Bottles, Brasses, and Busts

11:30  Ruins and Remains
Chair: Caroline Barron (Birkbeck, University of London)
• Alexander Wragge-Morley (NYU), In Search of Lost Design: The Science of Ruins in the Seventeenth Century
• Elizabeth Yale (University of Iowa), Elf-Arrows and Origins: Antiquarian Collections and Human Descent
• Luke Edgington-Brown (University of East Anglia), The 1901 Excavation of Stonehenge and Its Connection to Antiquarian Research in Late Nineteenth-Century Japan

1:00  Lunch

2:00  Eighteenth-Century Natural History and Antiquarianism
Chair: Arthur MacGregor (Oxford)
• Martin Rudwick (University of Cambridge), Volcanoes and Vases: Naturalists, Antiquaries, and the Mobilisation of Images
• Staffan Müller-Wille (University of Exeter), Following Footsteps: Linnaeus in Lapland
• Edwin Rose (University of Cambridge), From Collection to Publication: Joseph Banks, Thomas Pennant, and Defining Natural History and Antiquarianism in Late Eighteenth-Century Britain

3:30  Coffee Break

4:00  Hands-On Session II


New Book | Martin Lister and his Remarkable Daughters

Posted in books by Editor on March 24, 2019

Distributed in North America by The University of Chicago Press:

Anna Marie Roos, Martin Lister and his Remarkable Daughters: The Art of Science in the Seventeenth Century (Oxford: Bodleian Library, 2019), 224 pages, ISBN: 978-1851244898, $40.

A royal physician and fellow of the Royal Society, Martin Lister was an extraordinarily prolific natural historian with an expertise in shells and mollusks. Disappointed with the work of established artists, Lister decided to teach his daughters, Susanna and Anna, how to illustrate images of the specimens he studied. The sisters became so skilled that Lister entrusted them with his great work, Historiæ Conchyliorum, assembled between 1685 and 1692. This first comprehensive study of conchology consisted of more than one thousand copperplates of shells and mollusks collected from around the world. Martin Lister and his Remarkable Daughters reconstructs the creation of this masterwork, presenting original drawings, engraved copperplates, draft prints, and photographs of the finished books.

Susanna and Anna portrayed the shells of this collection not only as curious and beautiful objects, but also as specimens of natural history, rendering them with sensitivity and keen scientific empiricism. Beautiful in their own right, their illustrations and engravings reveal the early techniques behind scientific illustration and offer fascinating insight into the often hidden role of women in the scientific revolution.

Anna Marie Roos is a reader in the history of science and medicine at the University of Lincoln.

New Book | Jefferson on Display

Posted in books by Editor on March 23, 2019

From the University of Virginia Press:

G. S. Wilson, Jefferson on Display: Attire, Etiquette, and the Art of Presentation (Charlottesville: University of Virginia Press, 2018), 308 pages, ISBN: 978-0813941295, $30.

When we think of Thomas Jefferson, a certain picture comes to mind for some of us, combining his physical appearance with our perception of his character. During Jefferson’s lifetime this image was already taking shape, helped along by his own assiduous cultivation. In Jefferson on Display, G. S. Wilson draws on a broad array of sources to show how Jefferson fashioned his public persona to promote his political agenda. During his long career, his image shifted from cosmopolitan intellectual to man of the people. As president he kept friends and foes guessing: he might appear unpredictably in old, worn, and out-of-date clothing with hair unkempt, yet he could as easily play the polished gentleman in a black suit, as he hosted small dinners in the President’s House that were noted for their French-inspired food and fine European wines. Even in retirement his image continued to evolve, as guests at Monticello reported being met by the Sage clothed in rough fabrics that he proudly claimed were created from his own merino sheep, leading Americans by example to manufacture their own clothing, free of Europe.

By paying close attention to Jefferson’s controversial clothing choices and physical appearance—as well as his use of portraiture, architecture, and the polite refinements of dining, grooming, and conversation—Wilson provides invaluable new insight into this perplexing founder.

G. S. Wilson is Shannon Senior Historian at the Robert H. Smith International Center for Jefferson Studies, Monticello.


List of Illustrations


The European Experience
1  At the French Court and among the Literati
2  Remembering the Revolution

The Politics of the 1790s
3  Returning to a New America
4  Campaigning for Change

The Presidency
5  A New Presidential Profile
6  But Always the Cosmopolitan Gentleman

Retirement at Monticello
7  Contemplating Legacy
8  A Final Image


Illustration Credits


Exhibition | French Memories of the War for America

Posted in exhibitions by Editor on March 23, 2019

Press release (18 March 2019) for the exhibition:

Revolutionary Reflections: French Memories of the War for America
American Revolution Institute of the Society of the Cincinnati in Washington, D.C., 5 April — 27 October 2019

Nicolas-René Jollain, Allegorical Portrait of Thomas François Lenormand de Victot, 1783, oil on canvas, 90 × 117 cm (Washington: The Society of Cincinnati).

King Louis XVI sent thousands of French soldiers and sailors across the Atlantic to support the American War of Independence. It was an adventure none of them would forget. The special exhibition, Revolutionary Reflections: French Memories of the War for America, on view at the American Revolution Institute of the Society of the Cincinnati in Washington, D.C., from April 5 through October 27, 2019, explores how the king’s officers understood the American Revolution and their role in the achievement of American independence, and how they remembered the war in the years that followed—years of revolutionary upheaval in France that included the execution of the king and many of their brothers-in-arms.

Drawn from the Institute’s collections, along with loans from private collections, Revolutionary Reflections pairs the written recollections of French officers with life portraits of the writers, including masterpieces by the French artist Jean-Baptiste Greuze and the great Spanish portrait painter Vicente López y Portaña. Among the treasures on view will be the original manuscript memoir of General Rochambeau, who commanded the largest French army sent to America, along with his family’s annotated copy of the published work.

Another highlight of the exhibition is the long-lost portrait of the marquis de Saint-Simon, who commanded 4,000 French troops at Yorktown, together with Saint-Simon’s manuscript journal of the Yorktown campaign. The portrait was long owned by the marquis’ descendants, but was hidden during the Spanish Civil War and then long forgotten. The American Revolution Institute acquired it and brought it to Washington in 2018. The portrait has never been displayed in a formal exhibition in the United States. The journal—yet to be published in English—has never been displayed anywhere.

The most striking piece on view is a posthumous allegorical portrait of Thomas François Lenormand de Victot by Nicolas-René Jollain, painted in 1783. A French naval officer who died during the war, Lenormand is depicted opposing Death, portrayed as a skeleton in flight bearing a sickle. The Institute acquired this extraordinary painting in 2010.

The eight officers whose memories are featured in the exhibition were well-educated French nobles. They made sense of their wartime experiences through careful observation and documentation. Some were battle-tested veterans. Others, including the marquis de Lafayette, were young men when they arrived in America. The war for American independence was a defining event for all of them. Together their reflections remind us that historical memory is fragile, always shifting, and often very personal.

New Book | Grammars of Approach

Posted in books by Editor on March 22, 2019

From The University of Chicago Press:

Cynthia Wall, Grammars of Approach: Landscape, Narrative, and the Linguistic Picturesque (Chicago: The University of Chicago Press, 2019), 352 pages, ISBN: 978-0226467665 (cloth), $105 / ISBN: 978-0226467832 (paper), $35.

In Grammars of Approach, Cynthia Wall offers a close look at changes in perspective in spatial design, language, and narrative across the late eighteenth and early nineteenth centuries that involve, literally and psychologically, the concept of ‘approach’. In architecture, the term ‘approach’ changed in that period from a verb to a noun, coming to denote the drive from the lodge at the entrance of an estate “through the most interesting part of the grounds,” as landscape designer Humphrey Repton put it. The shift from the long straight avenue to the winding approach, Wall shows, swung the perceptual balance away from the great house onto the personal experience of the visitor. At the same time, the grammatical and typographical landscape was shifting in tandem, away from objects and Things (and capitalized common Nouns) to the spaces in between, like punctuation and the ‘lesser parts of speech’. The implications for narrative included new patterns of syntactical architecture and the phenomenon of free indirect discourse. Wall examines the work of landscape theorists such as Repton, John Claudius Loudon, and Thomas Whately alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and the novels of Defoe, Richardson, Burney, Radcliffe, and Austen to reveal a new landscaping across disciplines—new grammars of approach in ways of perceiving and representing the world in both word and image.

Cynthia Wall is professor of English at the University of Virginia. She is an editor of works by Bunyan, Defoe, and Pope, and the author of The Literary and Cultural Spaces of Restoration London and The Prose of Things: Transformations of Description in the Eighteenth Century, the latter also published by the University of Chicago Press.


List of Illustrations
A Note on My Text


1  The Architectural Approach
The etymology of ‘approach’ (n.s.)
The concept of approach (n.s. and v.): the ‘ancient’ and the ‘modern’ lines
The language of approach (v.): architectural and syntactical design
The traveler’s approach
The novelists approach

2  The Prepositional Building
The park gate lodge
The topographical view: angles and staffage
A Bridge to the next part: ‘A Village on, or across, the Thames

3  The Topographical Page
The typographical landscape
The letters on the page:
i. fonts
ii. capitals and italics
iii. catchwords
iv. pointing

4  The Grammar in Between
The rise of grammar
The rise of the preposition
Clarissa and the little words: the avenue and the approach
i. Richardson as printer
ii. Clarissa and prepositions
iii. Clarissa as prepostion

5  The Narrative Picturesque
Syntactical architecture in textual landscapes
i. Bunyan: “thinges . . included in one word”
ii. Defoe: “in a Word
iii. Haywood: “In fine, she was undone”
The narrative picturesque
i. Radcliffe and the prepositional phrase
ii. Burney and the psychological interior
iii. Austen and the approach to the interior

Coda: A Topographical Page



Workshop | The Mind in the Matter

Posted in conferences (to attend) by Editor on March 22, 2019

From Eventbrite:

The Mind in the Matter: New Approaches to the Psychology of Collecting
Institute of Historical Research, London, 27 March 2019

Organised by the Society for the History of Collecting

Psychology informs us about what drives an individual to collect. In the Enlightenment, the human mind was often analysed and discussed by means of metaphors and analogies borrowed from the world of collecting. In the nineteenth-century, the stereotypes surrounding the monomaniac, eccentric or perverse collector was codified in the art press and through fiction. In the twentieth century, the topic was treated at length by scholars such as Werner Munsterberger, often working in an explicitly psychoanalytic framework. Whilst this Freudian approach has been subject to intense criticism in the past thirty years, many scholars continue to interpret collecting in terms of categories such as ‘lack’, ‘surrogacy’, ‘desire’ and ‘loss’.

Join us for a workshop that investigates the extent to which psychological models are still valid and necessary to understand collecting as a human activity. Is there a tension between the universalising psychological theories and the drive to study collecting historically? What sources are particularly useful or revealing for uncovering the collector’s motivations or relations to his objects? What can recent developments in psychology and neuroscience add to our understanding? How far can or should we enter the interior life of a collector, and what role does imagination play in communicating these insights to new audiences? And what are the meaningful alternatives, apart from opportunistic acquisitions; to a psychological approach of the study of collecting—can we ever escape from this way of thinking?

The workshop brings together six specialists working in different disciplines, who approach the ‘psychology of collecting’ from alternative perspectives, using historical case-studies and scientific models. Confirmed speakers include the pioneering historian of collecting Professor Susan Pearce; neuropsychologist Professor John Harrison; artist, collector and scholar Dr Jane Wildgoose; librarian and heritage expert Dr Tony Burrows; doctoral researcher into the collector Sir William Burrell, Isobel Macdonald; and contemporary art adviser Shaune Arp.

Organising committee: Tom Stammers, Adriana Turpin, Eleni Vassilika

Lecture | Caroline Winterer, Was There an American Enlightenment?

Posted in lectures (to attend) by Editor on March 21, 2019

Thomas Rowlandson, after George Moutard Woodward, John Bull Making Observations on the Comet (detail), hand-colored etching, published by Thomas Tegg, 10 November 1807 (Farmington: Lewis Walpole Library). More information is available here.

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From the Lewis Walpole Library:

Caroline Winterer, Was There an American Enlightenment?
Yale Center for British Art, New Haven, 4 April 2019

The 24th Lewis Walpole Library Lecture will be delivered by Caroline Winterer, Anthony P. Meier Family Professor in the Humanities and Director, Stanford Humanities Center, on Thursday, April 4, beginning at 5:30 pm in the Yale Center for British Art Lecture Hall.

The American Enlightenment is often viewed as a singular era bursting with new ideas as the U.S. sought to assert itself in a new republic free of the British monarchy. In this talk, Stanford historian Caroline Winterer shows how the myth and romanticization of an American Enlightenment was invented during the Cold War to calm fears of totalitarianism overseas. She’ll then look behind the 20th-century mythology, rescuing a ‘real’ eighteenth-century American Enlightenment that is far different than the one we usually imagine.

Caroline Winterer is Anthony P. Meier Family Professor in the Humanities and Director of the Stanford Humanities Center. She is an American historian, with special expertise in American thought and culture. Her most recent book is American Enlightenments: Pursuing Happiness in the Age of Reason (2016). Winterer’s other books include The Mirror of Antiquity: American Women and the Classical Tradition, 1750–1900 (2007) and The Culture of Classicism: Ancient Greece and Rome in American Intellectual Life, 1780–1910 (2002).

Mauritshuis Acquires Pastel Portrait by Perronneau

Posted in museums by Editor on March 20, 2019

Press release (18 March 2019) from the Mauritshuis:

Jean-Baptiste Perronneau, ‘Portrait of Jacob van Kretschmar’, 1754, pastel and crayon on paper, 60 × 45 cm (The Hague: Mauritshuis, Gift of Jonkheer F.G.L.O. van Kretschmar, 2018).

Last year the Mauritshuis received a generous gift from Jonkheer F.G.L.O. van Kretschmar: a magnificent pastel portrait from 1754 by the French artist Jean-Baptiste Perronneau (ca. 1715–1783). The portrait shows Jacob van Kretschmar of The Hague, the donor’s ancestor. The pastel, which had remained in the family, is a superb example of Perronneau’s work. Pastels are extremely sensitive to light, and so cannot be on permanent display, but from today the new acquisition will be exhibited for several months in Room 13.

Emilie Gordenker, Mauritshuis Director: “We are deeply grateful to Jonkheer van Kretschmar. The Mauritshuis has a small, but fine collection of eighteenth-century pictures—in particular pastels—and this acquisition enhances our holdings in this area significantly.”

Travelling Pastel Artists

The eighteenth century in the Netherlands is often described in art historical literature as the century of Cornelis Troost (1696–1750). The Mauritshuis has a unique collection of pastels by Troost, including the well-known NELRI series (a set of five humorous pastels). Troost was only one of many artists working at that time. The art world was extremely international in the eighteenth century and artists travelled throughout Europe. There were many foreign portrait painters working in the Netherlands for varying lengths of time. With the arrival of talented artists such as the Parisian Jean-Baptiste Perronneau, the Swiss Jean-Étienne Liotard (1702–1789) and the German Johann Friedrich August Tischbein (1750–1812), pastel portraits became popular in the Netherlands. Perronneau was the first foreign pastel artist to come and work in the Netherlands, and it was during his first stay that he produced the portrait of Van Kretschmar.

Today we know of some 45 portraits that Perronneau made in the Netherlands, thirty of which are pastels and the rest oil paintings. After his first visit in 1754, the artist regularly returned to the Netherlands, where he was extremely successful. Almost half of the extant Dutch portraits were created during Perronneau’s second stay in 1761 in Amsterdam and The Hague. He also made portraits of the young Orange prince William V and his sister Princess Wilhelmina Carolina at that time, but further commissions from the court never materialised. Perronneau died in 1783 in Amsterdam.

Portrait of Jacob van Kretschmar

Perronneau signed and dated the pastel in elegant letters in the top left-hand corner: “Perronneau / Peintre du Roy / en 1754 / à La Haye.” The composition of the portrait is simple, yet powerful. The 33-year-old military man Jacob van Kretschmar (1721–1792) is portrayed half-length. The loose, but convincing way in which Perronneau rendered the details in the powdered hair and the jabot—the frill of lace at the neck—demonstrate his great talent. The portrait’s appeal is further enhanced by the elegant, seemingly relaxed pose, the bright colours and the serene light. The blue tailcoat edged with gold thread stands out against the light background, where the blue of the paper still shimmers through.

About the Donor

The donor of the pastel by Perronneau is a well-known figure in the Dutch museum world. Jonkheer F.G.L.O van Kretschmar (1919–2019) was a Dutch art historian and genealogist. He was the director of the Iconographic Bureau for many years, which today forms part of the Netherlands Institute for Art History—RKD in The Hague. Van Kretschmar was of great value to the Iconographic Bureau—he saw to it that the institution did not solely concentrate on collecting documentation about Dutch portraits, but also focused on their scientific study. He also made a great personal contribution with his publications on Dutch portrait art—published over many decades—and the inventories he made of private collections of family portraits, usually depicting members of the aristocracy. Van Kretschmar’s great dedication to and keen interest in Dutch cultural heritage were recognised when he was awarded the silver museum medal on his retirement as director in 1984.


The portrait of Jacob van Kretschmar will be on display in Room 13 until 7 July, along with a self-portrait by Cornelis Troost. An engaging pastel portrait of Wilhelmina of Prussia by Tischbein, one of several versions that is rarely on view and is still in its original frame, will also be in Room 13. The three pastels will be accompanied by a number of eighteenth-century painted portraits, including a portrait of a man by Troost and George van der Mijn’s portraits of Cornelis Ploos van Amstel and his wife. There could be no better setting for these works than this room with its eighteenth-century interior.

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