The Burlington Magazine, August 2019
The August issue of The Burlington was especially rich for the eighteenth century; apologies for not posting it much sooner, but it’s worth noting. –CH
The Burlington Magazine 161 (August 2019)
E D I T O R I A L
• “At the Yale Center for British Art,” p. 619. At the end of June Amy Meyers stepped down as Director of the Yale Center for British Art, New Haven, after seventeen years.
A R T I C L E S
• Sam Rose, “Peer Review in Art History,” pp. 621–25. A more recent development than is often realized, and historically imposed in a variety of ways, peer review is a fundamental but rarely discussed aspect of academic life. What impact does it have on publishing in art history?
• Alexander Echlin, “Was Lord Burlington a Jacobite?,” pp. 626–37. A thesis first put forward thirty years ago that Lord Burlington was a Jacobite, who used buildings and gardens to express his clandestine views, has won a measure of support. However, the biographical evidence is circumstantial and the architectural evidence is so ambiguous that it cannot sustain the argument.
• Gauvin Alexander Bailey, “Buenos Aires Cathedral in the Eighteenth Century,” pp. 638–47. Greatly altered in the early eighteenth century, the original appearance of the interior of Buenos Aires Cathedral, designed by Antonio Masella and completed by Manuel Álvarez de Rocha in 1771, is here reconstructed from newly identified visual sources, a watercolour of c.1830 and nineteenth-century photographs.
• Alexandra Gajewski and Michael Hall, “The Fate of Notre-Dame, Paris,” pp. 648–52. The first at Notre-Dame in April destroyed its largely medieval roof and the flèche designed by Violeet-le-Duc as well as badly damaging the vaults. Plans for repairs depend on an assessment of the long-term structural damage to the cathedral, despite which a five-year timetable for the restoration has been imposed by President Macron and a competition for a replacement flèche initiated.
• Giovan Battista Fidanza, “New Evidence for the ‘Barberini Apostles’ by Andrea Sacchi and Carlo Maratti,” pp. 653–59. Unpublished documents in the Barberini Archives in the Vatican Library clarify the patronage, authorship, and dating of a celebrated series of nine paintings of the Apostles commissioned from Andrea Sacchi and Carlo Maratti by Cardinals Antonio Barberini the Younger and Carlo Barberini.
R E V I E W S
• Simon Lee, Review of the exhibitions The Majesties’ Retiring Room and A Painting for a Nation: The Execution of Torrijos (Prado, 2019), pp. 673–76.
• John Bold, Review of Matthew Walker, Architects and Intellectual Culture in Post-Restoration England (Oxford University Press, 2017), pp. 688–89.
• Anthony Colantuono, Review of Claire Farago, Janis Bell and Carlo Vecce, The Fabrication of Leonardo da Vinci’s ‘Trattato della pittura’ (Brill, 2018), pp. 693–95.
• Sandra Miller, Review of Valerie Steele, ed., Pink: The History of a Punk, Pretty, Powerful Colour (Thames & Hudson, 2018), pp. 701–02.
Symposium | Scholarly Editing of Literary Texts
From the Lewis Walpole Library:
Scholarly Editing of Literary Texts from the Long Eighteenth Century
Lewis Walpole Library Symposium
The Graduate Club, Yale University, New Haven, 21 September 2019
Scholarly editions are fundamental to the development of scholarship for their respective authors, and their shelf-life is far longer than for many other academic texts. They provide the authoritative and annotated text to which readers and scholars ultimately refer, and the research required to produce them often results in the discovery of additional manuscript material or other bibliographical evidence, and the reconsideration of questions of attribution. This symposium will provide an opportunity to consider their past achievements, current issues in methodology and production, and their future prospects.
Given Yale’s association with the recently completed edition of the works of Samuel Johnson (1958–2018) and the ongoing work of The Yale Edition of the Private Papers of James Boswell (1950–), it is an appropriate venue for a symposium on the editorial issues and the future of scholarly editions of the collected works and correspondences of British writers from the long eighteenth century.
Chair: Katie Gemmill, Assistant Professor of English, Vassar College
Speakers
• Stephen Clarke, Curator of the Lewis Walpole Library’s 40th anniversary exhibition, Rescuing Horace Walpole: The Achievement of W.S. Lewis, and Honorary Research Fellow of the University of Liverpool (The Yale Edition of Horace Walpole’s Correspondence)
• Robert DeMaria Jr., Henry Noble MacCracken Professor of English, Vassar College (The Yale Edition of the Works of Samuel Johnson)
• Elaine Hobby, Professor of Seventeenth-Century Studies, University of Loughborough (Editing Aphra Behn in the Digital Age)
• Peter Sabor, Canada Research Chair, Director of the Burney Centre, Professor of English, McGill University (Editing Frances Burney’s Journals and Letters, 1972–2019)
• Michael F. Suarez, S.J., Director of Rare Book School, Professor of English, University Professor, University of Virginia (The Collected Works of Alexander Pope)
• Gordon Turnbull, General Editor of The Yale Editions of the Private Papers of James Boswell (Yale Boswell Editions)
Registration is requested for catering and space-planning purposes. Space is limited.
Exhibition | George Stubbs: ‘All Done from Nature’
Skeleton of Eclipse (Collection of the Royal Veterinary College, University College London). Eclipse died in 1789 at the age of 25. The Veterinary College was built in 1791, with its first students enrolling in January of 1792.
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Opening next month at MK Gallery:
George Stubbs: ‘All Done from Nature’
MK Gallery, Milton Keynes, 12 October 2019 — 26 January 2020
Mauritshuis, The Hague, 20 February — 1 June 2020
George Stubbs: ‘All done from Nature’ presents the first significant overview of Stubbs’s work in Britain for more than 30 years and brings together 100 paintings, drawings, and publications—from the National Gallery’s Whistlejacket to pieces that have never been seen in public.
Born in Liverpool in 1724, Stubbs was a quintessential product of the Enlightenment and embodied all of its core principles, questioning traditional authority and embracing the notion that humanity could be improved through the application of reason. Rather than trust to history and the untested example of his artistic and scientific precursors, Stubbs championed doing as a way of thinking and deployed pictorial representation as a form of knowledge and understanding. Today, he is recognised as one of the most original artists of the eighteenth century. His wide-ranging subjects included portraits, conversation pieces, and pictures of exotic and domestic animals—horses included—and his obsession with scientific exactitude has drawn comparison with the work of Leonardo da Vinci.
A major theme of the exhibition is anatomy. The show includes Stubbs’s contributions to a pioneering treatise on midwifery and his preliminary work on A Comparative Anatomical Exposition of the Structure of the Human Body with that of a Tiger and a Common Fowl. It also includes the detailed studies and drawings that led to The Anatomy of the Horse—the greatest coming together of art and science in British art—alongside the actual skeleton of the legendary racehorse Eclipse, which Stubbs depicted on several occasions.
A version of the show will tour to the Mauritshuis in The Hague where it will be the first-ever exhibition on the artist in the Netherlands. The exhibition is accompanied by a fully illustrated catalogue with major contributions from Alison Wright, Jenny Uglow, Martin Myrone, Martin Postle, and Nicholas Clee as well as new and existing poetry by Roger Robinson.
Anthony Spira, Martin Postle, and Paul Bonaventura, George Stubbs: ‘all done from Nature’ (London: Paul Holberton Publishing, 2019), 224 pages, ISBN: 978-1911300687, £35.
More information on the skeleton of Eclipse is available from this article by Mark Brown for The Guardian (6 July 2019).
Exhibition | Rescuing Horace Walpole
This fall at the Lewis Walpole Library:
Rescuing Horace Walpole: The Achievement of W.S. Lewis
Lewis Walpole Library, Farmington, CT, 20 September 2019 — 24 January 2020
Curated by Stephen Clarke
Wilmarth S. ‘Lefty’ Lewis (Yale Class of 1918) devoted the better part of his life to building the world’s greatest collection relating to Horace Walpole (1717–1797), the British writer, collector, and historian. He also championed Walpole’s importance as a figure in English eighteenth-century life, doing so most effectively as general editor and guiding spirit of the Yale Edition of Horace Walpole’s Correspondence (Yale University Press, 1937–83), whose 48 volumes are widely acknowledged to this day as a model of scholarship in historical editing.
This fall’s exhibition, Rescuing Horace Walpole: The Achievement of W.S. Lewis, pays tribute to Lewis’s life and legacy as a scholar-collector, on the 40th anniversary of his bequest of the Lewis Walpole Library to his alma mater, Yale University. Drawing heavily on the recently cataloged Lewis archives, the exhibition shows how the total dedication of the collector resulted in a collection of extraordinary range and depth, and expressed itself in some surprising ways. It also evolved into a monumental achievement of scholarship in the Yale-Walpole edition and, in the process, transformed perceptions of Walpole and his age.
A related symposium, Scholarly Editing of Literary Texts from the Long Eighteenth Century, on September 21st, in New Haven, will explore the past, present, and future of scholarly editions of the collected works and correspondences of early modern British writers, ranging from the Yale Horace Walpole (1717–1797) and Samuel Johnson (1709–1784) editions, via the Burney and Boswell papers to new editions now being planned for Alexander Pope (1688–1744) and Aphra Behn (1640?–1689).
Curator Stephen Clarke will give a talk on the exhibition at the Lewis Walpole Library on October 28 beginning at 7pm.
Exhibition | Trial by Media: The Queen Caroline Affair
From the Lewis Walpole Library:
Trial by Media: The Queen Caroline Affair
The Lillian Goldman Law Library, Yale Law School, New Haven, 9 September — 19 December 2019
Curated by Cynthia Roman and Mike Widener
Attributed to Theodore Lane, The Q-n’s ass in a band-box, 22 January 1821; hand-colored etching with stipple (Lewis Walpole Library).
Trial by Media: The Queen Caroline Affair exhibition marks the bicentennial of the Queen Caroline divorce proceedings and focuses on the prolific media coverage around the 1820 trial. The trial is famous among cultural historians as a media event; in law it is remembered for Lord Brougham’s argument that a lawyer’s only duty is “to save that client by all means and expedients.”
There will be an online component following the physical exhibition. For the online exhibition, Cynthia Roman and Mike Widener have invited several scholars from diverse disciplines, at Yale and beyond, including many former research fellows, to contribute a short note focused on an object or group of objects of their choice from the Queen Caroline-related collections.
Trial by Media: The Queen Caroline Affair will enable visitors to explore the rich resources at Yale on the topic of Queen Caroline (1768–1821) and many scholarly perspectives from cultural and legal historians on this fascinating story. A mini-conference, in connection with exhibition, will be held on the afternoon of October 4.
The exhibition is curated by Cynthia Roman, Curator of Prints, Drawings and Paintings at the Lewis Walpole Library; and Mike Widener, Rare Book Librarian, Lillian Goldman Law Library.
NGA Announces New Curatorial Staff
Press release (2 September 2019) from the NGA:
Aaron Wile began in June at the National Gallery of Art as associate curator of French paintings.
The National Gallery of Art announced today new additions to the curatorial staff: Betsy Wieseman, Shelley Langdale, Brooks Rich, and Aaron Wile.
Betsy Wieseman will join the museum as curator and head of the department of northern European paintings. Wieseman is currently chair of European art from classical antiquity to 1800 and curator of European paintings and sculpture 1500–1800 at the Cleveland Museum of Art. She begins her tenure in Washington on November 25, 2019. Shelley Langdale, Brooks Rich, and Aaron Wile joined the Gallery over the course of the summer. Shelley Langdale began her Gallery tenure in May as curator and head of the department of modern prints and drawings. Brooks Rich also joined the Gallery in May as associate curator of old master prints. Aaron Wile arrived at the Gallery in June as associate curator of French paintings.
“We are thrilled to welcome so many talented new staff to the Gallery—their curatorial experience is extraordinary,” said Franklin Kelly, chief curator, National Gallery of Art, Washington. “I look forward to working with them as they engage with our renowned collections with fresh eyes. Their ideas and subsequent projects will energize the museum community and inspire visitors, scholars, and staff for years to come.”
Betsy Wieseman, Curator and Head of Northern European Paintings
Marjorie E. ‘Betsy’ Wieseman is currently chair of European art from classical antiquity to 1800 and curator of European paintings and sculpture 1500–1800 at the Cleveland Museum of Art. Wieseman is a renowned specialist in 17th-century Netherlandish art with an emphasis on Dutch portraiture and genre painting and the work of Peter Paul Rubens. She has also written about portrait miniatures, the technical examination of paintings, and the history of collecting, among other subjects. She previously held curatorial positions at the Museum of Fine Arts, Boston, the Allen Memorial Art Museum, Oberlin College, and the Cincinnati Art Museum. For 11 years she was employed at the National Gallery, London, as curator of Dutch painting 1600–1800 (2006–2012) and as curator of Dutch and Flemish painting 1600–1800 (2012–2017).
As curator and head of northern European paintings—a new position at the Gallery that merges the former curator of northern baroque painting and curator of northern Renaissance painting positions—Wieseman will oversee one of the most important collections in this area outside the Netherlands. Wieseman holds a PhD from Columbia University and an MA and BA from the University of Delaware.
Shelley Langdale, Curator and Head of Modern Prints and Drawings
Shelley Langdale refined her curatorial expertise while working with some of the nation’s foremost collections of works on paper: first the Museum of Fine Arts, Boston, then the Cleveland Museum of Art, and, for the past 17 years, the Philadelphia Museum of Art. While her primary focus has been modern and contemporary works on paper, Langdale has organized or collaborated on an unusual range of projects, from an exemplary study and exhibition of Pollaiuolo’s 15th-century engravings in Cleveland to an exhibition of Yoshitoshi’s magnificent color woodcuts in Philadelphia. Widely admired for her professional activity and generosity, she successfully mentored a long line of curatorial fellows and interns at the Philadelphia Museum of Art and was deeply involved with the city’s artists and art organizations. She is also the current president of the Print Council of America, the national professional organization of curators of works on paper.
As the head of modern prints and drawings at the Gallery, Langdale oversees approximately 60,000 prints, watercolors, drawings, and multimedia works on paper. Her initial projects at the gallery include participation in an upcoming set of installations celebrating women artists and donors for the 100th anniversary of the ratification of the 19th Amendment; addressing the storage and documentation needs of the Gallery’s growing collections of workshop and artist archives (Gemini G.E.L., Crown Point Press, and the prints of Jasper Johns, among others); and an exhibition drawn from the Gallery’s collection of modern works on paper. Langdale holds an MA from Williams College and a BA from Bowdoin College.
Brooks Rich, Associate Curator of Old Master Prints
Brooks Rich recently completed his PhD in early 16th-century Netherlandish engraving at the University of Pennsylvania, where he wrote his dissertation “The Mystery of the Monogram AC at the Margins of Early European Printmaking.” Rich has an impressive range of curatorial experience in the departments of prints, drawings, and photographs at several leading institutions, including curatorial fellowships at the Rijksmuseum and the Philadelphia Museum of Art, where he organized the exhibition Rockwell Kent–Voyager: An Artist’s Journey in Prints, Drawings, and Illustrated Books (2012). Rich has also worked at the Clark Art Institute, Williamstown, MA, and the Museum of Fine Arts, Boston.
In his new role at the Gallery, Rich will balance the demands of cataloging, researching, caring for, and organizing exhibitions about the Gallery’s collection of prints and illustrated books dated before 1900. In addition to his PhD, Rich holds an MA from Williams College and a BA from Bowdoin College.
Aaron Wile, Associate Curator of French Paintings
Aaron Wile received his PhD from Harvard University, with a specialization in 17th- and 18th-century French painting. Most recently he was at the University of Southern California (USC) as a postdoctoral fellow in the Society of Fellows in the Humanities. Prior to this academic post, he was a Chester Dale Fellow at the Metropolitan Museum of Art and an Anne L. Poulet Curatorial Fellow at The Frick Collection, where he organized the critically acclaimed exhibition Watteau’s Soldiers: Scenes of Military Life in Eighteenth-Century France (2016), the first exhibition devoted to Watteau’s military works. His exhibition catalog essay won an award for excellence from the Association of Art Museum Curators. He is also the recipient of the 2015–2016 James L. Clifford Prize for best article from the American Society for Eighteenth-Century Studies.
Wile will take part in the exhibition, research, and acquisition projects related to the Gallery’s French painting collection, with particular attention given to the 17th- and 18th-century works. In addition to his PhD, Wile holds an MA from Harvard University and a BA from Haverford College.
Carlo Dolci’s Saint Agatha Returns to Osterley
From the press release (15 August 2019) . . .
Carlo Dolci, Saint Agatha, oil on canvas, ca. 1665–70 (Osterley, National Trust 2900293).
The return of Saint Agatha to Osterley has provided the opportunity to stage a special winter exhibition for visitors, beginning in November, which will explore the rise to fame and fortune of the Child family who acquired the painting and showcase the art and design that they commissioned and collected from around the globe.
The Child family were goldsmiths and bankers who patronised the fine and decorative arts. The wealth they acquired was used to create the luxurious Robert Adam interiors still seen at Osterley today, and which were filled with Old Master paintings, lacquer furniture, Indian fabrics, and East Asian ceramics. The painting of Saint Agatha, purchased by art lover Sir Robert Child (1674–1721) at the beginning of the 18th century, became one of the works in a great picture collection at Osterley and was recorded in a 1782 inventory. However, it was later sold along with other family heirlooms in the 1930s.
Saint Agatha is a dramatic depiction of Agatha of Sicily, a Christian martyr, who suffered dreadful torture at the hands of the Romans. It is an example of the work of the Baroque master Carlo Dolci (1616–1687), a leading figure of 17th-century Florentine art, whose passionate depictions of holy figures aimed to inspire reverence and empathy for the divine. It captures the miraculous moment when Saint Peter the Apostle appeared to Saint Agatha in a vision and healed her wounds.
John Chu, National Trust Assistant Curator of Pictures and Sculpture explains: “Although an extraordinary number of original furnishings remain at Osterley, its once-famous picture collection has been almost completely dispersed or destroyed. We are lucky to have a number of paintings on loan from the Jersey family, but it is fantastic when a rare opportunity arises to purchase one for the property, especially one as moving and profound as this. The homecoming of Saint Agatha provides the chance to look more closely at the importance of pictures to the story of the house. She will be the highlight of our exhibition exploring the Child family’s meteoric rise and what these precious objects meant to them at a remarkable moment in British history. Saint Agatha will be displayed alongside other European and Asian works of art and design, including furniture and ceramics, bought by the family. We also want to give our visitors a sense of the special meaning that each object held for the people and cultures that created them. Dolci’s Saint Agatha, for instance, held powerful spiritual resonances for its Roman Catholic maker and his first Florentine patrons, but it was seen in a much more secular light when it entered the collection at Osterley and was displayed alongside family portraits. We are very grateful to Art Fund and our other generous donors and supporters for enabling us to acquire Saint Agatha and hope the exhibition will inspire all those who enjoy discovering examples of the highest quality art and design.”
Saint Agatha was purchased for £248,750 at the Christie’s Old Masters Evening Sale [Lot 39] in London on 5 July 2018 thanks to a grant of £85,000 from Art Fund, support from private donors, Trust members, and visitors to Osterley Park, along with support from a fund set up by the late Simon Sainsbury to support acquisitions for the historic houses of the National Trust.
Since the acquisition, the painting has undergone two phases of conservation treatment.
Eleanor McGrath, Head of Grants at Art Fund, said: “It is wonderful to see this striking work return to its home at Osterley Park and House where it will be the highlight of the exhibition, helping visitors imagine the wider historic collections and life of the Child family.”
Treasures of Osterley: Rise of a Banking Family runs from 4 November 2019 until 23 February 2020.
CAA Professional Committees
A note from Julia Sienkewicz; Assistant Professor of Art History, Roanoke College; Vice President for Committees, Board of Directors, CAA
Two New Committees of the College Art Association
Applications due by 1 October 2019
Even as the new school year begins, please consider putting together an application to join one of CAA’s two new professional committees: the Committee on Research and Scholarship and the Services to Historians of Visual Arts Committee. These committees, which were approved by the Board of Directors in May, were formed largely in response to conversations and concerns within the art historical community. We hope the committees will be able to advance substantial good work for our professions. The call for applications can be found here. Because these committees are new, we have assigned a slightly extended deadline of October 1 for these applications. Committee charges are included below.
Should you have questions about the application process, please email Vanessa Jalet (vjalet@collegeart.org). For other inquiries concerning the two new committees, please reach out to me. Of course, I also encourage you to review the other standing Professional Committees. All are accepting applications (until 18 September). Announcing these new committees is an exciting moment for me in my work with CAA’s professional committees. I look forward to working with some of you to get these important new teams up and running!
Sincerely,
Julia Sienkewicz
Committee on Research and Scholarship
The Committee on Research and Scholarship is charged with gathering information, assessing trends, and proposing organizational advocacy for CAA on matters concerning the advancement of research and scholarship in visual arts and design, encompassing all facets of research regarding history, education, and practice. Recognizing that professionals must navigate a rapidly-transforming field of options for conducting research and disseminating the results thereof, the committee is responsible for assisting the organization in engaging with current issues and serving its membership in this important facet of their professional life.
Services to Historians of Visual Arts Committee
The Services to Historians of Visual Arts Committee identifies and addresses concerns facing historians of art, architecture, design, material culture, and visual culture. It creates and implements programs and events at the conference and beyond. It offers a forum for the discussion of issues of mutual interest across the discipline’s many diverse fields and methodologies. In a climate of great threat to the survival of history of art and history of visual arts programs, this committee provides a locus for advocacy issues particular to historians in these areas of interest. The committee lends support and mentorship for both seasoned and emerging professionals. It is also charged with maintaining dialog with other professional organizations and affiliated societies focused on the history of art, architecture, design, material culture, and visual culture.
Print Quarterly, September 2019
James Gillray, New Morality; – or – The Promis’d Installment of the High-Priest of the Theophilanthropes, with the Homage of Leviathan and his Suite, 1798, hand-colored etching, 8 × 24 inches (New Haven: Yale Center for British Art, Paul Mellon Collection, B1981.25.1001).
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The eighteenth century in the current issue of Print Quarterly:
Print Quarterly 36.3 (September 2019)
A R T I C L E S
Allison M. Stagg, “William Cobbett, James Gillray and the Market for Caricatures in 1790s Philadelphia,” pp. 263–74.
In the decades immediate following the American Revolution (1775–83), caricature prints were imported from London to cities along the east coast of North America. Evidence of a transatlantic transfer of British satirical imagery can be found in the numerous advertisements published in American newspapers from this period. Despite the frequency with which caricatures are mentioned in newspapers, few details can readily be discerned from them. The advertisements primarily reference the general arrival of collections of British caricature prints, usually as an addendum to other imported items such as books, stationery and even clocks, and provide little to no mention as to what specific caricatures crossed the Atlantic (263) . . . Details found in documents dating from the last decade of the eighteenth century, however, allow for a more thorough examination of the availability of and interest in imported and American caricatures in Philadelphia in the late 1790s. The primary source is an account book in the collection of the American Antiquarian Society in Worcester, MA, of the famous British radical, polemicist and publisher William Cobbett (1763–1835), who took refuge in American in 1793 (264).
N O T E S A N D R E V I E W S
Truusje Goedings, Review of Wolf Eiermann, Claudia Steinhardt-Hirsch and Eckhard Leuschner, Prachtvoll illuminirt: Das Handkolorit in der Druckgrafik, 1493–1870 (Hirmer Verlag, 2018), pp. 304–06.
Neglected for a long time, the hand-colouring of prints, book illustrations and maps has been the subject of serious research during the last three decades, resulting in major exhibitions with comprehensive catalogues. . . [The present] catalogue, edited by Wolf Eiermann . . . is another effort to make the picture of 400 year of handcolouring more complete . . . The Sammlung Frank, a private collection in Stuttgart focused on German art and formed in the previous century, served as the main source, supplying about 110 of the 134 catalogued items (304) . . . The period from c. 1760 to 1880 is well represented with about one hundred items, mainly topographical, but also on costumes and natural history, including a rare example of Christian Gottlieb Ludwig’s Ectypa vegetabilium . . . / Nach der Nature verfertigte Abdrucke der Gewachse (nature-printed prints of plants; Halle and Leipzig, 1760–64) with 200 nature prints in contemporary colouring” (306).
Peter Fuhring, Review of Thomas Wilke, Innendekoration: Graphische Vorlagen und theoretische Vorgaben für die wandfeste Dekoration von Appartements im 17. und 18. Jahrhundert in Frankreich, 2 volumes (Scaneg Verlag, 2016), pp. 308–10.
The study of prints related to the decoration of secular interiors in France from the seventeenth and eighteenth centuries, in association with theoretical guidelines, . . . reveals an ambition that is difficult to fulfill. . . So far not a single catalogue or study encompasses the entire French print production of wall decorations, mantelpieces and ceilings made during both centuries. . . Further research is necessary to complete the still lacunar state of our knowledge. This is what Wilkie strives to do. His study is composed of two parts: the first volume offers a presentation of the issues as set out in the title, while the second consists of a catalogue of prints that form the basis of the author’s demonstration (308).
Véronique Meyer, Review of Katie Scott, Becoming Property: Art, Theory, and Law in Early Modern France (Yale University Press, 2018), pp. 313–15.
[Scott’s] recent book . . . examines the relationship between intellectual property and the visual arts in France from the sixteenth century to the beginning of the nineteenth . . . It traces the history of this relationship, highlighting key moments with exemplary case studies as well as citing regulations and legal texts, (313) and examines the role of the parties involved, including booksellers, publishers, engravers, draughtsmen and authors. Although the sixteenth and seventeenth centuries occupy and important place in the book, which shows how the definition of privilege and copyright evolved over the years, it is above all France of the Enlightenment and Revolution that lies at the heart of this study (314). . . [It] is a must for all who are interested in the history of printmaking, the decorative arts and artistic theories and institutions such as the Académie Royale (315).
David Bindman, Review of Cynthia Roman, ed., Hogarth’s Legacy (Yale University Press, 2016), pp. 315–16.
Hogarth’s enormous and long-lasting influence on art and popular imagery is the subject of a series of essays, largely by scholars of eighteenth-century art, including . . . Douglas Fordham, Dominic Hardy, Brian Maidment, Patricia Mainardi, Ronald Paulson, Mark Salber Philips, and Michael Printy. . . Collections of essays inevitably fall somewhere on the spectrum between the tightly focused, based on a close conversation between the authors, and the loose and baggy, in which the connections between the essays are more informal. Although the quality of the essays is uniformly excellent, this volume tends more toward the baggy . . . The main and entirely commendable purpose of the volume seems to have been to make scholarly use and draw further attention to the relatively little-known and underused, and in some areas quite spectacular, collections of Hogarth engravings and late eighteenth-century caricature in the Walpole Library (315).
Roger Paas, Review of Josef Biller, Calendaria Bambergensia: Bamberger Einblattkalender des 15. bis 19. Jahrhunderts von der Inkunabelzeit bis zur Säkularisation, 2 volumes (Anton H. Konrad Verlag, 2018), pp. 317–19.
Biller has dedicated over four decades to the collecting and studying of broadside (316) calendars published for the bishopric of Bamberg, and the results of his in-depth research have now been published in a detailed and richly illustrated two-volume catalogue (318).
Daniel Godfrey, Review of Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeißig, gen. Schenau (Michael Imhof Verlag, 2018), pp. 319–23.
The son of a damask weaver from Großschönau in Saxony, Schenau fled the outbreak of the Seven Years’ War in 1756 to Paris. There he Frenchified his name and established a reputation as an artist of ‘society paintings’ focused on liaisons between the sexes, coiffure and the texture of material. The mentorship of Johann Georg Wille (1715–1808), engraver, print publisher and art dealer, must have motivated Schenau to execute a set of twelve etchings in 1765, six of children acting as adults and six of heads . . . These were to remain Schenau’s only autograph prints (319) . . . Yet, Schenau’s career developed in symbiosis with the print.
Mark Bills, Review of John Ford, Rudolph Ackermann and the Regency World (Warnham Books, 2018), pp. 323–25.
Although Ackermann belongs to and epitomizes the Regency Period (1788–1830), one cannot help but think that he would be a very useful figure in the art and design world of today (323) . . . John Ford has absorbed an enormous body of material and given us a fascinating chronological account of Ackermann as well as adding important new research and insights (324).
P U B L I C A T I O N S R E C E I V E D
• Joachim Jacoby, Guillaume Jean Constantin (1755–1816): A Drawings Dealer in Paris (Ad Ilissum for the Fondation Custodia, 2018), p. 339.
• Peter Stoll, Französische Buchillustration des 18. Jahrhunderts in der Oettingen-Wallersteinschen Bibliothek (Universität Augsburg Bibliothek, 2018), p. 339.
• Thora Brylowe, Romantic Art in Practice: Cultural Work and the Sister Arts, 1760–1820 (Cambridge University Press, 2019), p. 339.
• Helen Rosslyn, A Buyer’s Guide to Prints (The Royal Academy of Arts in association with the London Original Print Fair, 2018), p. 342.
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