Call for Papers | The Salon and the Senses

Posted in Calls for Papers by Editor on July 9, 2019

From the Call for Papers, for this conference aimed at graduate students and early-career scholars:

The Salon and the Senses in the Long Eighteenth Century: Interdisciplinary Perspectives
Rutgers University, New Brunswick, New Jersey, 2–3 April 2020

Proposals due by 15 September 2019

The conference The Salon and the Senses in the Long Eighteenth Century: Interdisciplinary Perspectives, seeks to join the intellectual heritage of the salons with their multidisciplinary, multisensory natures. We will explore the sights, sounds, smells, tastes, and tactile aspects of the salon, considering the arts and sensory pleasures of the salon alongside the verbal arts—the poetry, literature, theater, and conversation—that were cultivated there.

Salons of the 17th, 18th, and early 19th centuries knew no disciplinary boundaries. More than other institutions of the age, salons offered their habitués opportunities to engage with a wide range of social, cultural, artistic, literary, and verbal practices. A multidisciplinary approach requires that we—like salon hostesses and guests before us—open our minds across modern intellectual boundaries and reanimate the embodied practices of the institution. By bringing together scholars from numerous fields, we hope to shed new light on salons in all of their complexity. Above all, we seek to understand the multi-sensory nature of the salon: its sights, sounds, tastes, and smells; its conversations, texts, and subtexts.

We welcome proposals for conference presentations, performances, or interactive sessions.
Possible topics include, but are not limited to:
• Senses and sensory experience
• Material culture, furniture, and fashion
• Emotions and expressive culture
• Gender, sexuality, and the body
• Salons as sites of global or local cultural exchange
• Aesthetics and philosophy
• Natural philosophy, collecting, and experimentation
• Letters and other texts
• Music and visual art
• Poetry, theater, and the novel
• Games, food, and sociability

Abstracts of up to 350 words, as well as a one-page curriculum vitae, should be sent by September 15, 2019 to jemjones@sas.rutgers.edu. Graduate students and early-career scholars are encouraged to apply. Selected participants will be notified by the end of October. The conference will be hosted by the Center for Cultural Analysis (CCA) at Rutgers University and is convened by the CCA’s “Experiencing the Salon” working group, led by Jennifer Jones (Department of History, jemjones@sas.rutgers.edu) and Rebecca Cypess (Department of Music, rebecca.cypess@rutgers.edu). For more information, contact Jennifer or Rebecca.

Exhibition | Goya: Visions and Inventions

Posted in exhibitions by Editor on July 9, 2019

Now on view at The Dalí Museum in Florida:

Before Dali — Goya: Visions and Inventions
The Dalí Museum, St. Petersburg, 15 June — 1 December 2019

Francisco José de Goya y Lucientes, Portrait of Francisco Sabatini, ca. 1775–79, oil on canvas, 33 × 25 inches (Dallas: Meadows Museum at SMU, MM.67.03).

Francisco José de Goya y Lucientes (1746–1828) is one of the most important Spanish artists of the late eighteenth and early nineteenth centuries, celebrated for his revolutionary paintings, drawings, and engravings. Goya’s life and works deeply influenced Salvador Dali in his early years and are considered by many scholars to be the basis for ‘modern’ art, bridging classicism and romanticism. Before Dali: Goya: Visions & Inventions, sponsored by Tampa International Airport, features two alternating suites of first-edition prints, published in Goya’s lifetime, alongside three significant paintings representing unique themes of Goya’s works. The works are on loan from the Meadows Museum in Dallas, home of one of the most substantial collections of Goya.

Los Caprichos
The Dalí Museum, 15 June — 15 September 2019

One of Goya’s most famous works, Los Caprichos (1799) is a series of 80 satirical prints exploring his visions of the superstitions and societal ills of his time. Goya sought to illustrate “the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance, or self-interest have made usual.” Witchcraft and other superstitious beliefs were a prevalent subject matter in this series that meant to ridicule and critique the arrogance of the noble class and the corruption of human virtue. Because of their sensitive subjects—including anticlerical scenes—few people saw these works during Goya’s lifetime.

La Tauromaquia
The Dali Museum, 21 September — 1 December 2019

La Tauromaquia (1816) is a suite of prints depicting the evolution and history of bullfighting on the Iberian Peninsula. Goya created La Tauromaquia between 1815 and 1816, at the age of 69. Unlike the targets of Goya’s previous satirical series Los Caprichos, bullfighting was not politically sensitive, and La Tauromaquia was published in an edition of 320—for sale individually or in sets—without incident. The latter series, however, did not meet with critical or commercial success. The artist focuses on the violent scenes that take place in the bullring and the daring movements of the bullfighters. The events are not presented as they are viewed by a viewer in the stands, but in a more direct way.

sKBL International Summer School, 2020: Dutch Country Houses

Posted in opportunities by Editor on July 8, 2019

This new program launches in 2020 with applications accepted between 1 August 2019 and 1 April 2020. From the program flyer:

sKBL International Summer School: Historic Country Houses in the Netherlands
The Netherlands, 3–11 July 2020

Applications due by 1 April 2020

The first edition of the sKBL International Summer School will start in 2020. Many associate England, France, and Germany with beautiful castles and stretched-out rural estates. Within Europe, the Netherlands is not as often associated with this, even though it contains hundreds of special castles, historic country houses, and rural estates. The sKBL International Summer School wants to change this by focusing on this versatile Dutch monumental heritage with knowledgeable participants of various nationalities. The organisation also aspires to create an international network of connoisseurs and professionals, which can be of great use to Dutch castles, country houses, and rural estates.

The 2020 edition, which will be held from 3 to 11 July, is open for participants outside the Netherlands who are conducting professional research on topics that relate to the preservation and conservation of monumental heritage. It is important that we establish interaction between not only the participants, but also the owners of the domains to be visited. This way, knowledge, science, and stories come together, and we can learn and enrich ourselves.

This (pilot) 2020 edition focuses on the historic country houses that have been built in large numbers in the area around Amsterdam in earlier centuries by merchants and aristocrats. This study programme will bring the participants to Amsterdam and to country houses in Kennemerland, the Beemster Polder, ‘s-Graveland, and the Vechtstreek. Dutch experts and researchers will contribute with lectures and guided tours. Future editions may relate to the noble rural estates in Gelderland, the Noordelijke Lustwarande, castles in Limburg, the manors of Overijssel, and so forth. Furthermore, our organisation is searching for cooperation with Belgium, so that their monumental heritage can become part of this curriculum as well.

Practical Points

The language used during the Summer School is English. We aim to attract as many foreign participants as possible, therefore the number of Dutch participants will be limited. In the admission assessment, the Board of Governors will ensure that the composition of the group will be well-balanced. Students are also welcome. The substantive programme also offers opportunities for discussions and reflection. The programme may be changed due to circumstances. The organisation of the Summer School does not (yet) have scholarships.

A minimum of 25 and a maximum of 40 people can participate in the Summer School. You can sign up from 1 August 2019. The application period closes on 1 April 2020. All registered participants will be notified whether or not they have been admitted before 30 April 2020. The participation fee must be paid before 31 May 2020. After 1 June 2020, free cancellation is only possible if a participant on a (possible) waiting list is willing to take a vacant place. The Board of Governors has the decisive vote in this. We do not communicate about admissions and rejections of candidates.

Due to the preparatory stage all costs are not yet fully clear, and the participation fee will be definitively announced on 1 August 2019, but will likely be around € 2,400.- and will comprise supervision, entrance fees, lectures, overnight stays, transport during the programme and most meals. The programme will start with a welcome cocktail and dinner on 3 July 2020 and ends on 11 July 2020 after breakfast.

The Board of Governors regards this 2020 edition as an opportunity to gain experience. In doing so we can change or improve the admission requirements and/or future programmes. After the programme all participants are asked to fill out an evaluation before 30 September 2020.

Admission requirements for the sKBL Summer School 2020:
• Every participant is required to have a demonstrable professional involvement in fields that relate to the preservation or maintenance of castles, historic country houses and rural estates. This may be a scientific or other similarly professional or intellectual engagement. Other relevant (work) experience may also lead to admission. The Board of Governors of the sKBL Summer School will assess the admissions for the 2020 edition.
• All participants are required to submit a curriculum vitae with a motivation letter (in English).
• Every participant must be able to demonstrate that they speak English.
• Every participant must have completed, or must be currently enrolled in, higher professional education, academic education or a similar education. The Board of Governors reserves the right to deviate from this rule.
• Participants must be physically able to join this intensive programme.
• The sKBL Summer School is not in any way responsible for accidents or theft during this programme. We advise every participant to take an individual travel or cancellation insurance.

Applications can be sent to
sKBL International Summer School Board of Governors Attn. Mr. René W.Chr. Dessing
Veerpoortdijk 105
The Netherlands
or by email to rdessing@skbl.nl stating ‘application sKBL Intl. Summer School 2020’

Exhibition | Stubbs (1724–1806): Anatomist

Posted in exhibitions by Editor on July 7, 2019

Now on view at Palace House in Newmarket:

Stubbs (1724–1806): Anatomist
National Heritage Centre for Horseracing and Sporting Art, Newmarket, 27 June — 28 September 2019

In summer 2019, Palace House, The National Heritage Centre for Horseracing and Sporting Art will display a set of unique drawings by Britain’s most renowned animal painter, George Stubbs (1724–1806). The ten works, on loan from the Yale Center for British Art, have not been seen in the UK for many years. The drawings form the core of an exhibition that illuminate aspects of Stubbs’s life and interest which have previously been underexplored and highlights the exceptional nature of his painting and drawing techniques.

Stubbs was one of the most original and pioneering artists of the 18th century. His prowess as a painter of horses is well known, but his later study of the anatomy of a wide variety of animals to compare with the human figure is less widely documented.

His great reputation as an extraordinary painter of horses was forged in a remote Lincolnshire farmhouse. In his early thirties, Stubbs relocated from York to Horkstow, near Hull and spent the next 18 months (1756–58), unflinchingly and painstakingly dissecting up to a dozen horses, documenting their musculature, veins, and skeletons. The sheer effort it took to suspend the horses by a system of hooks, ropes, and planks attached to the farmhouse’s ceiling and then injecting their veins with wax in order to preserve them can only be imagined.The result was his celebrated book, The Anatomy of the Horse—a copy of which (from the Palace House collection) will be on display in the exhibition.

Following The Anatomy of the Horse, Stubbs moved to London, where he continued his interest in dissection and anatomy, alongside his increasingly successful career as a painter. He was 71-years old when he started working on Comparative Anatomical Exposition, a study reflecting ideas about fundamental structural characteristics shared by all living things.

Stubbs didn’t seek to make direct comparisons between species, as the title might suggest, but to apply empirical methods of observation and draftsmanship among dissimilar creatures—fowl, tiger, and man—to analyse a core set of similarities from which to make key conclusions. Just as his huge undertaking at Horkstow, this was another highly ambitious project, with the aim of a major publication with sixty plates. Stubbs sadly did not complete this as he died in 1806.

Acquired by the sporting art enthusiast, Paul Mellon, the completed Comparative Anatomical Exposition drawings underpin Mellon’s collecting habits and his deep passion for this subject. The display of comparative anatomy drawings joins numerous works at the National Heritage Centre which were donated by him to the National Horseracing Museum and British Sporting Art Trust collections.

Exhibition | Deconstructed: The NSLM Sporting Screen

Posted in exhibitions by Editor on July 7, 2019

From the NSLM:

Deconstructed: The NSLM Sporting Screen
The National Sporting Library & Museum, Middleburg, Virginia, 12 April — 15 September 2019

Deconstructed: The NSLM Sporting Screen centers on a unique decorative object from the NSLM’s permanent collection. Recently conserved, the four-panel screen is comprised of paintings and prints showing 18th-century racing portraits on one side and manège training (an early form of dressage) on the other. The exhibit will cast light on a captivating era in British sport, art, and literature.

As noted in the Summer 2019 bulletin for the YCBA:

The exhibition features seven works from the Yale Center for British Art by John Vanderbank, including the painting A Young Gentleman Riding a Schooled Horse (1728–29).

New Books | Mazes and Labyrinths

Posted in books by Editor on July 6, 2019

A fair number of examples are drawn from the eighteenth century:

Charlotte Higgins, Red Thread: On Mazes and Labyrinths (London: Jonathan Cape, 2018), 224 pages, ISBN: 978-1910702390, £25.

The tale of how the hero Theseus killed the Minotaur, finding his way out of the labyrinth using Ariadne’s ball of red thread, is one of the most intriguing, suggestive and persistent of all myths, and the labyrinth—the beautiful, confounding and terrifying building created for the half-man, half-bull monster—is one of the foundational symbols of human ingenuity and artistry.

Charlotte Higgins tracks the origins of the story of the labyrinth in the poems of Homer, Catullus, Virgil and Ovid, and with them builds an ingenious edifice of her own. She follows the idea of the labyrinth through the Cretan excavations of Sir Arthur Evans, the mysterious turf labyrinths of northern Europe, the church labyrinths of medieval French cathedrals and the hedge mazes of Renaissance gardens. Along the way, she traces the labyrinthine ideas of writers from Dante and Borges to George Eliot and Conan Doyle, and of artists from Titian and Velázquez to Picasso and Eva Hesse.

Her intricately constructed narrative asks what it is to be lost, what it is to find one’s way, and what it is to travel the confusing and circuitous path of a lived life. Red Thread is, above all, a winding and unpredictable route through the byways of the author’s imagination—one that leads the reader on a strange and intriguing journey, full of unexpected connections and surprising pleasures.

Charlotte Higgins’s previous books include the acclaimed Under Another Sky: Journeys in Roman Britain, which was shortlisted for awards including the Samuel Johnson (now Baillie Gifford) Prize for non-fiction. She is chief culture writer of The Guardian, a past winner of the Classical Association prize, and a fellow of the Society of Antiquaries. She lives in London.

From Laurence King:

Angus Hyland and Kendra Wilson, with illustrations by Thibaud Herem, The Maze: A Labyrinthine Compendium (London: Laurence King Publishing, 2018), 144 pages, $30.

Mazes have been a part of civilization for at least 4,000 years, and there are more being built now than ever before. What is it about these magical life-size puzzles that continues to intrigue us? The idea of the maze taps into so many subconscious notions: the game, the quest, the spiritual journey. Perhaps this is the key to their enduring appeal. This beautifully illustrated book will delight lovers of mazes, acting as a guide, directory, and puzzle book combined. Specially commissioned illustrations by Thibaud Hérem represent 60 real and imagined mazes from around the world, with a bird’s eye view of each maze so that readers can make their own journey. Each maze is also accompanied by a fascinating and witty short history.

Thibaud Hérem is a French illustrator based in London. His published work includes Know Your Rodent (with Ziggy Hanaor, 2010), Draw me a House (2012) and London Deco (2013).
Angus Hyland is a graduate of the Royal College of Art and a partner at Pentagram Design London. His work for Laurence King includes (with Roanne Bell) Hand to Eye (2003), The Picture Book (2010), (with Steve Bateman) Symbol (2011), The Purple Book (2013) and The Book of the Dog (2015).
Kendra Wilson is a journalist, and author of My Garden is a Car Park and Other Design Dilemmas (2017), published by Laurence King. Collaborations with Angus Hyland include The Book of the Dog (2015) and The Book of the Bird (Laurence King, 2016).

From Penguin Random House:

Henry Eliot, Follow This Thread: A Maze Book to Get Lost In (New York: Three Rivers Press, 2019), 240 pages, ISBN: 978-1984824448, $18.

Beautifully designed and gorgeously illustrated, this immersive, puzzle-like exploration of the history and psychology of mazes and labyrinths evokes the spirit of Choose Your Own Adventure, the textual inventiveness of Tom Stoppard, and the philosophical spirit of Jorge Luis Borges. Labyrinths are as old as humanity, the proving grounds of heroes, the paths of pilgrims, symbols of spiritual rebirth and pleasure gardens for pure entertainment. Henry Eliot leads us on a twisting journey through the world of mazes, real and imagined, unraveling our ancient, abiding relationship with them and exploring why they continue to fascinate us, from Kafka to Kubrick to the myth of the Minotaur and a quest to solve the disappearance of the legendary Maze King.

Henry Eliot is the creative editor of Penguin Classics. Having studied English Literature at Cambridge University, he has spent the past decade immersed in literature, creating a mass public pilgrimage for the National Trust inspired by William Morris, recreating Chaucer’s Canterbury Tales to raise money for the National Literacy Trust and leading a number of literary tours, including a Lake Poets tour of Cumbria and a quest for the Holy Grail based on Malory’s Morte Darthur. He was a Trustee of the William Blake literary society for three years. He is the author of Follow This Thread, a maze-like book about the history and psychology of mazes, and Curiocity, written with Matt Lloyd-Rose, an illustrated book of unexpected London journeys and experiences.

Exhibition | A Tea Journey

Posted in exhibitions by Editor on July 5, 2019

Richard Collins, The Tea Party, 1727
(London: Goldsmiths’ Company)

◊  ◊  ◊  ◊  ◊

From Compton Verney:

A Tea Journey: From the Mountains to the Table
Compton Verney Art Gallery & Park, 6 July — 22 September 2019

Visitors will follow the tea leaf from plant to pot, beginning with its roots in Chinese culture through to its adoption and appropriation into British society. A Tea Journey raises questions about what the humble cup of tea has evolved to represent in international, social, philosophical, and visual cultures. The exhibition combines rare, historic teaware from China, Japan, and India with responses by contemporary artists including Robin Best, Adam Buick, Phoebe Cummings, Charlotte Hodes, Takahiro Kondo, Ian McIntyre, Bruce Nuske, Selina Nwulu, Bouke de Vries, Hetain Patel, Paul Scott, Julian Stair, and Edmund de Waal. Visitors are also invited to explore The Tea Sensorium, which offers a multi-sensory appreciation of tea, from the leaf itself and art inspired by tea, as well as becoming a sight for artist-led workshops and discussions.

New Book | Iconoclasm in New York: Revolution to Reenactment

Posted in books by Editor on July 4, 2019

Scheduled for publication this fall from Penn State UP:

Wendy Bellion, Iconoclasm in New York: Revolution to Reenactment (University Park: The Pennsylvania State University Press, 2019), 280 pages, ISBN: 978-0271083643, $125.

King George III will not stay on the ground. Ever since a crowd in New York City toppled his equestrian statue in 1776, burying some of the parts and melting the rest into bullets, the king has been riding back into American culture, raising his gilded head in visual representations and reappearing as fragments. In this book, Wendy Bellion asks why Americans destroyed the statue of George III—and why they keep bringing it back.

Locating the statue’s destruction in a transatlantic space of radical protest and material violence—and tracing its resurrection through pictures and performances—Bellion advances a history of American art that looks beyond familiar narratives of paintings and polite spectators to encompass a riotous cast of public sculptures and liberty poles, impassioned crowds and street protests, performative smashings and yearning re-creations. Bellion argues that iconoclasm mobilized a central paradox of the national imaginary: it was at once a destructive phenomenon through which Americans enacted their independence and a creative phenomenon through which they continued to enact British cultural identities. Persuasive and engaging, Iconoclasm in New York demonstrates how British monuments gave rise to an American creation story. This fascinating cultural history will captivate art historians, specialists in iconoclasm, and general readers interested in American history and New York City.

Wendy Bellion is Professor and Sewell C. Biggs Chair of American Art History at the University of Delaware. She is the author of the award-winning Citizen Spectator: Art, Illusion, and Visual Perception in Early National America.

Exhibition | Cost of Revolution: The Life and Death of an Irish Soldier

Posted in exhibitions by Editor on July 4, 2019

Press release (15 May 2019) for the exhibition:

Cost of Revolution: The Life and Death of an Irish Soldier
Museum of the American Revolution, Philadelphia, 28 September 2019 — 17 March 2020

Exploring the toll of war and revolution through the eyes of Irish soldier Richard St. George

Thomas Gainsborough, Portrait of Richard St. George, 1776 (Melbourne: National Gallery of Victoria).

Tickets are now on sale for the upcoming special exhibition Cost of Revolution: The Life and Death of an Irish Soldier, which opens on 28 September 2019 and runs through 17 February 2020 at the Museum of the American Revolution, the exhibition’s exclusive venue. Based on new discoveries made by the Museum’s curators, Cost of Revolution presents the untold story of Richard St. George, an Irish soldier and artist whose personal trauma and untimely death provide a window into the entangled histories of the American Revolution and the ensuing Irish Revolution of 1798.

“You may not have heard the name Richard St. George before, but you’ll be astonished by what his life can tell us about America and Ireland in the Age of Revolutions,” said Dr. R. Scott Stephenson, President and CEO of the Museum of the American Revolution. “This exhibit extends the Museum’s internationally acclaimed story-driven approach onto the global stage to examine the broader influence of the American Revolution through St. George’s remarkable personal journey.”

As a young officer in the British Army, Richard St. George crossed the Atlantic in 1776 to try and stop the growing American Revolution. He returned home to Ireland after surviving a severe head wound at the Battle of Germantown, near Philadelphia, in 1777. Back in Ireland, he found his native country roiled by the effects of the revolutionary spirit sweeping across America and Europe. St George became an outspoken critic of the growing movement to establish an Irish republic independent from the British Empire in the 1790s. A few months before the outbreak of the Irish Revolution of 1798, St. George’s tenants ambushed and killed him.

The 5,000-square-foot exhibition will chronicle St. George’s dramatic journey with more than 100 artifacts, manuscripts, and works of art from Australia, Ireland, England, and the United States, many of which will be on display in America for the first time. It will also present one of the largest collections of objects from Ireland’s 18th-century revolutionary history and war for independence ever displayed in Philadelphia.

Five portraits of Richard St. George—created over the span of 25 years—are known to survive and will be reunited in this exhibit for the first time since they left the possession of St. George’s descendants more than a century ago. Every known piece of surviving artwork by St. George himself—including cartoons, sketches from his military service in America, and a self-portrait—also will be assembled for the first time in this exhibit. Together, the portraits, cartoons, and sketches reveal the physical and emotional toll of revolution.

Key Artifacts

Xavier della Gatta, Painting of the Battle of Germantown, 1782 (Philadelphia: Museum of the American Revolution).

• A portrait of Richard St. George by Thomas Gainsborough (1776) depicting him just before he shipped out for New York to fight against the growing American Revolution, on loan from Australia’s National Gallery of Victoria (Melbourne).
• Three portraits of Richard St. George by Irish artist Hugh Douglas Hamilton (1790s) that show St. George as he struggled to manage the pain of the traumatic headwound he received during the American Revolutionary War. One of the portraits, on loan from the National Gallery of Ireland in Dublin, depicts him grief-stricken, mourning at his wife’s tomb. Hamilton painted this portrait as a movement for Irish independence, which St. George opposed, was on the rise.
• A signed self-portrait of Richard St. George, recently donated to the Museum, that depicts him in a forlorn landscape wearing a silk head wrap to cover the scars of his head wound. This portrait is a rare example of art created by a veteran of the American Revolutionary War that refers to personal pain sustained during the War.
• Paintings of the Battles of Paoli and Germantown by Italian artist Xavier della Gatta that St. George helped to create in 1782 to reflect on his participation in those battles. The paintings are in the Museum’s permanent collection.
• The British Army uniform coat and pistol that belonged to Richard St. George’s grandfather, on loan from the National Army Museum in London.
• The 1775 bound maps of the estate of Richard St. George in County Galway, on loan from the Galway County Council Archives in Galway, Ireland.
• A trephine, or skull saw, of the type that was used to operate on Richard St. George’s head following the Battle of Germantown, on loan from the Mütter Museum of the College of Physicians of Philadelphia.
• American illustrator Howard Pyle’s 1898 painting The Attack upon the Chew House, which depicts the carnage of the Battle of Germantown, on loan from the Delaware Art Museum.
• The red uniform coat worn by British Army Lieutenant Ely Dagworthy on loan from Dumbarton House and the National Society of The Colonial Dames of America.
• The August 24, 1776 Leinster Journal, one of the first printings of the American Declaration of Independence in an Irish newspaper, on loan from the National Library of Ireland in Dublin, Ireland.
• A green uniform coat worn by Irish Revolutionary Henry Joy McCracken and a pike head carried by the United Irishmen during Ireland’s fight for independence from Great Britain in 1798, on loan from the National Museums of Northern Ireland (Ulster Museum) in Belfast.
• A rare silk flag carried by the Delaware militia that the British light infantry captured during the Philadelphia Campaign of 1777, on loan from the Delaware Historical Society.
• Richard St. George’s personal sketches from the American Revolutionary War, on loan from a private collection. One sketch depicts St. George being carted off the battlefield following his wounding at the Battle of Germantown in 1777.
• Lord Edward Fitzgerald’s ribbon and Theobald Wolfe Tone’s membership certificate from the United Irishmen, on loan from the National Museum of Ireland in Dublin. Both Fitzgerald and Wolfe Tone died while helping to lead the United Irishmen in their struggle for Irish independence from Great Britain in 1798. The ribbon, taken from Fitzgerald’s body after his death, served as a memento of the Irish Revolution and was used to inspire later Revolutionaries in South America.

Programming Highlights

• Saturday, September 28 and Sunday, September 29, the exhibit’s opening weekend, the Museum’s flagship living history event, Occupied Philadelphia, will bring together dozens of costumed interpreters to recreate the 1777–78 British occupation of Philadelphia on the Museum’s outdoor plaza.
• Tuesday, October 1, the Museum will host an evening lecture by Martin Mansergh, a collateral descendant of Richard St. George and a noted historian who is a former Irish Fianna Fáil politician and played a key role in the Northern Ireland peace process.
• Friday, October 3 through Sunday, October 5, the Museum will host the 2019 International Conference on the American Revolution in partnership with the Pritzker Military Museum and Library. This event will bring noted historians, writers, and curators from Ireland, Scotland, England, and the United States together to explore military, political, social, and artistic themes from the Age of Revolutions.
• The exhibition will come to life with special events and daily programs exploring the artistic and cultural traditions of Richard St George’s world. Highlights include musical and theatrical performances, artisan workshops and demonstrations, talks by noted historians as part of the Museum’s Read the Revolution series, and tours of the exhibition.

Deborah Sampson, Her Diary, and Women in the American Revolution

Posted in exhibitions, museums by Editor on July 4, 2019

As reported this week by in The New York Times:

Alison Leigh Cowan, “The Woman Who Sneaked into George Washington’s Army,” The New York Times (2 July 2019). A rediscovered diary, now at the Museum of the American Revolution, sheds light on the life of Deborah Sampson, who fought in the Continental Army.

Hers has always been one of the more astonishing, if little-known, tales of the American Revolution: a woman who stitched herself a uniform, posed as a man and served at least 17 months in an elite unit of the Continental Army. Wounded at least twice, Deborah Sampson carried a musket ball inside her till the day she died in 1827.

While historians agree that Sampson served in uniform and spilled blood for her country, gaps in the account have long led some to wonder whether her tale had been romanticized and embellished — possibly even by her.

Did she fight in the decisive Battle of Yorktown, as she later insisted on multiple occasions? And how did she keep her secret for the many months she served in Washington’s light infantry?

Now, scholars say the discovery of a long-forgotten diary, recorded more than 200 years ago by a Massachusetts neighbor of Sampson, is addressing some of the questions and sharpening our understanding of one of the few women to take on a combat role during the Revolution.

“Deb Sampson, her story is mostly lost to history,’’ said Dr. Philip Mead, the chief historian and director of curatorial affairs of the Museum of the American Revolution in Philadelphia. “So, finding a little piece of it is even more important than finding another piece of George Washington’s history.”

The museum bought the diary for an undisclosed sum after Dr. Mead spotted it at a New Hampshire antiques show last summer. He plans to showcase it next year with other items about the role American women played in the Revolution, as part of a larger celebration of the 100th anniversary of the 19th Amendment. . . .

The full article is available here»

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