Journée d’étude | Figures of Widows in the 17th and 18th Centuries

Posted in conferences (to attend), online learning by Editor on May 24, 2021

This GRHAM study day takes place next month online:

Widows in the 17th and 18th Centuries: Images of Social Status—Accepted, Hidden, Claimed?
Figures de veuves à l’époque moderne (XVIIe et XVIIIe siècles): Images d’un statut social accepté, caché, revendiqué?
Online, 15 June 2021

How did the image of the widowed woman develop during the 17th and 18th centuries? This study day aims to question the identity of widows during the period—famous or unknown—in order to better understand their intellectual, political, and social influence. To register for a Zoom link for the event, please email asso.grham@gmail.com.


9.00  Accueil des participants

9.15  Introduction — Scarlett BEAUVALET-BOUTOUYRIE (professeure à l’Université de Picardie)

9.45  Pouvoir et rôle politique dans « l’Europe » de l’Ancien Régime
Modération : Maël Tauziède-Espariat (chercheur associé à l’Université de Bourgogne)
• Veuves royales : représentations politiques du veuvage en France et en Angleterre à l’époque moderne (XVIIe–XVIIIe) — Julie ÖZCAN (doctorante en Histoire et Civilisation, l’École des Hautes Études en Sciences Sociales)
• Christine de France, duchesse et régente de Piémont-Savoie (1619–1663). Entre l’être et le paraître, le statut politique et social d’une veuve Femme d’État — Florine VITAL-DURAND (chercheuse associée à l’Université Grenoble Alpes)
• L’obscur et l’éclat : concilier gouvernement et viduité sous la régence d’Anne d’Autriche — Damien BRIL (chercheur à l’École du Louvre)

11.30  Identité, codes et normes vestimentaires
Modération : Marine Roberton (doctorante à l’Université Paris 1 Panthéon-Sorbonne)
• Apparences et images des veuves à la cour de France au cœur du XVIIIe siècle. L’exemple des dames de la reine Marie Leszczynska (1725–1768) — Aurélie CHATENET-CALYSTE (maître de conférences en histoire moderne, l’Université Rennes 2)
• Refashioning and Identity in the Mourning Portraits of Katherine Villiers, Duchess of Buckingham — Megan SHAW (PhD Candidate in Art History, The University of Auckland)

12.30  Pause

14.00  Représentations de veuves dans la peinture
Modération : Florence Fesneau, doctorante à l’Université Paris 1 Panthéon-Sorbonne
• La Vierge-Veuve, un modèle accompli de la viduité ? — Alysée LE DRUILLENEC (doctorante à l’Université Paris 1 Panthéon-Sorbonne)
• The Virtuous Widow in Late 18th-Century Art — Emma BARKER (Senior Lecturer, The Open University)

15.00  Se distinguer ou perpétuer l’œuvre de l’époux
Modération : Maxime-Georges Métraux (Université Gustave Eiffel / Galerie Hubert Duchemin)
• Derrière la veuve, la maîtresse peintresse ? Être veuve de peintre à Paris aux XVIIe et XVIIIe siècles — Bruno GUILOIS (chercheur associé au Centre André Chastel, Sorbonne Université)
• Business ‘as Usual’: What We Know of Jane Hogarth, the Printseller — Cristina S. MARTINEZ (Adjunct Professor, University of Ottawa)

16.15  Conclusion, Pierre-Antoine FABRE (Directeur d’études à l’École des Hautes Études en Sciences Sociales)

New Book | Minerva’s French Sisters

Posted in books by Editor on May 24, 2021

Professor Gelbart will be discussing her book this Thursday, 27 May, at 6pm (ET), in an online session hosted by The Athenaeum of Philadelphia. From Yale UP:

Nina Rattner Gelbart, Minerva’s French Sisters: Women of Science in Enlightenment France (New Haven: Yale University Press, 2021), 360 pages, ISBN: 978-0300252569, $40.

A fascinating collective biography of six female scientists in eighteenth-century France, whose stories were largely written out of history

This book presents the stories of six intrepid Frenchwomen of science in the Enlightenment whose accomplishments—though celebrated in their lifetimes—have been generally omitted from subsequent studies of their period: mathematician and philosopher Elisabeth Ferrand, astronomer Nicole Reine Lepaute, field naturalist Jeanne Barret, garden botanist and illustrator Madeleine Françoise Basseporte, anatomist and inventor Marie-Marguerite Biheron, and chemist Geneviève d’Arconville. By adjusting our lens, we can find them.

In a society where science was not yet an established profession for men, much less women, these six audacious and inspiring figures made their mark on their respective fields of science and on Enlightenment society, as they defied gender expectations and conventional norms. Their boldness and contributions to science were appreciated by such luminaries as Franklin, the philosophes, and many European monarchs. The book is written in an unorthodox style to match the women’s breaking of boundaries.

Nina Rattner Gelbart is professor of history and Anita Johnson Wand Professor of Women’s Studies at Occidental College. Her previous books include Feminine and Opposition Journalism in Old Regime France and The King’s Midwife: A History and Mystery of Madame du Coudray.


Actors in a Supporting Role

Introduction: A Sextet of Firsts, Variations on a Theme
Interlude: Letter to Elisabeth, Reine, Jeanne, Madeleine Françoise, Marie-Marguerite, and Geneviève
1  Mathematician and Philosopher: The ‘Celebrated Mlle Ferrand’ (1700–1752)
Interlude: Letter to Elisabeth
2  Astronomer and ‘Learned Calculator’: Nicole Reine Lepaute (1723–1788)
Interlude: Letter to Reine
3  Botany in the Field and in the Garden: Jeanne Baret (1740–1807) and Madeleine Françoise Basseporte (1701–1780)
Interlude: Letters to Jeanne and Madeleine Françoise
4  Anatomist and Inventor: Marie-Marguerite Biheron and Her Medical Museum (1719–1795)
Interlude: Letter to Marie-Marguerite
5  Chemist and Experimentalist: Marie Geneviève Charlotte Thiroux d’Arconville and Her Choice of Anonymity (1720–1805)
Interlude: Letter to Geneviève


New Book | Copley and West in England, 1775–1815

Posted in books by Editor on May 23, 2021

Distributed by Paul Holberton Publishing and The University of Chicago Press:

Allen Staley, Copley and West in England, 1775–1815 (London: Burlington Press, 2021), 176 pages, ISBN: 978-1916237803, £35 / $45.

This beautifully and thoroughly illustrated book, which constitutes the first serious investigation of the relationship between Benjamin West and John Singleton Copley, will be of considerable interest to both British and American art historians, and appeal to art lovers from both countries.

West and Copley have always and properly been viewed as the two pre-eminent eighteenth-century American artists, despite the fact that, at the age of twenty-one, West left his native shores in 1760, never to return. He went on to become immensely successful in England, becoming, among other things, the second president of the Royal Academy of Arts. Copley spent half his working life also in England. However, before making the move across the Atlantic, he made his mark as an exceptionally talented artist, who, without any real training, painted likenesses of fellow Bostonians, including ones of figures such as John Hancock and Paul Revere, that have become icons of American history. While those portraits remain his most widely admired works, after 1775 and his resettling in England, he started painting distinctly different types of pictures, initially showing modern historical subjects in emulation of the model provided him by West, following, for example, West’s celebrated Death of General Wolfe, exhibited in 1771, with his own Death of the Earl of Chatham, begun in 1779. For a brief span of time, the two expatriate Americans had a close working relationship, that we can see substantially reflected in both the formal language and the subject matter of many of their best works, but it eventually and inevitably turned into rivalry.

The book begins with a brief prologue discussing the earliest of West’s depictions of recent historical events and of subjects set in America, painted prior to Copley’s arrival in England. It then follows the year-by-year evolution of Copley’s painting from 1775 to his death in 1815, with an underlying focus upon his ongoing give-and-take with West. It ends with examination of hitherto little-known and unstudied major late paintings, from after 1800, by both artists.

Allen Staley is Professor Emeritus of Art History at Columbia University, where he taught for more than thirty years. Prior to Columbia he worked at the Frick Collection in New York and as an assistant curator at the Philadelphia Museum of Art. His engagement with Benjamin West began in Philadelphia with an article about an oil sketch by West, published in the museum’s bulletin in 1965. In 1975 he took on the task of completing the monumental catalogue of West’s paintings begun by the late Helmut von Erff, which led him to think about the artist’s influence upon the work of his compatriot and exact contemporary Copley. The book, after a decade’s labor, saw publication in 1986. His other significant books are The Pre-Raphaelite Landscape, published in 1973 with a second edition in 2001, and The New Painting of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement, published in 2011, both products of long-standing love and study of English Victorian painting. In addition to writing countless reviews and articles—the first in The Burlington Magazine in 1963—he has organized or shared in organizing and writing the catalogues of numerous exhibitions.

Online Conversation | Future of Publishing, Art and Architectural History

Posted in lectures (to attend), online learning by Editor on May 22, 2021

The Future of Art and Architectural History in Publishing: A Conversation
Online, University of Buckingham, 27 May 2021, 5pm (UK)

The last of this academic year’s Research Days organised by the Department of History and History of Art at the University of Buckingham is structured as a conversation with some of the most prominent editors in history of art and architecture. To register, please send an email to Seminars-HRI@buckingham.ac.uk. Questions may be addressed to Adriano Aymonino, who will be moderating the event, adriano.aymonino@buckingham.ac.uk.

• Mark Eastment, Editorial Director, Art and Architecture Editor, Yale University Press, London
• Michelle Komie, Publisher, Art & Architecture, Princeton University Press
• Alodie Larson, Art and Art History Editor, Oxford University Press
• Thomas Weaver, Senior Acquisitions Editor, Art and Architecture, MIT Press

NMWA’s Comprehensive Renovation To Begin in August

Posted in museums, on site by Editor on May 21, 2021

National Museum of Women in the Arts, Exterior, 13th Street and New York Avenue sides, Washington, D.C.
(Photo by Thomas H. Field, September 2008)

◊   ◊   ◊   ◊   ◊

From the museum’s press release (17 May 2021) . . .

Upgrades to historic building will enhance exhibition galleries, programming, scholarship, and accessibility and improve visitor experience.

The National Museum of Women in Arts (NMWA), the world’s only major museum solely dedicated to championing women artists, announces a plan for the comprehensive renovation of the museum’s historic building at 1250 New York Avenue, NW, in Washington, D.C. State-of-the-art upgrades to the museum’s home, a 1908 Classical Revival structure listed on the National Register of Historic Places, will expand NMWA’s exhibition space and enhance its programming, strengthening its work for years to come. The plan requires the building to close to the public beginning 9 August 2021. Construction will commence on 1 September 2021 and will be completed in approximately two years.

The building’s first full renovation since 1987, the $66 million project will honor the structure’s history while improving its interior spaces, mechanical systems, and exterior envelope. The long-planned updates include enlarged gallery space to showcase historic and contemporary artworks and installations; a new destination for researchers and education programs; and enhanced amenities and accessibility for visitors. Infrastructure and storage upgrades will bolster the long-term conservation and security of the museum’s collection of more than 5,500 works.

“From its home in the nation’s capital, NMWA has given deserved prominence to groundbreaking women artists of the past and present for nearly 35 years, but the goal of equity for women through excellence in the arts has yet to be achieved,” said NMWA Director Susan Fisher Sterling. “This renovation will ensure that the museum continues to promote the contributions of women artists in ways that engage audiences and advocates of tomorrow. Thanks to our founder Wilhelmina Cole Holladay and her husband Wallace—whose bold and ambitious vision led them to collect art by women and create a museum for its permanent display—our building is the center of a worldwide movement that champions women in, and through, the arts.”

Beginning in 2015, NMWA undertook a rigorous assessment of the historic building and created an extensive plan for renovations that apply recent advances in engineering, building codes, and sustainability. The Baltimore-based architectural firm Sandra Vicchio & Associates was chosen to lead the project.

“It is a majestic structure—timeless and beautiful,” said Vicchio. “To protect the collection and enable NMWA to educate and engage the world more effectively, we must upgrade the building’s envelope, improve the performance of its systems, and make better use of its interior space. Revitalizing the building is all about positioning the museum for a triumphant future.”

Learning Commons, National Museum of Women in the Arts Renovation Project
(Rendering by Sandra Vicchio & Associates, LLC, with Marshall Craft Associates, Inc.)

The renovation project at NMWA will include
• Transforming the building to provide easier access for all visitors, with upgraded technologies and amenities as well as improved ADA accessibility
• Dedicating a new orientation gallery in the Great Hall that welcomes visitors, introduces the museum’s mission, and tells stories of women artists
• Renovating and enlarging galleries to accommodate historic and contemporary artworks and multifaceted installations
• Creating a new Learning Commons that features a major exhibition gallery, a state-of-the-art Library and Research Center, Reading Room, and an Education Studio for hands-on workshops, curated conversations, and classes, as well as flexible space for rehearsals and other museum events
• Improving wireless and touch-screen technology in galleries, which will enhance visitors’ experiences and learning opportunities with additional connectivity
• Updating the Great Hall and Mezzanine to preserve these iconic spaces while improving their functionality for museum events and facility rentals
• Installing new lighting, climate control, and security technology to support long-term conservation of the art and the overall comfort of visitors
• Enhancing collection storage space to store art more efficiently and care for works of art more effectively
• Improving signage to provide better wayfinding and easy-to-follow pathways throughout the museum
• Restoring the roof, historic cornice, and the building exterior in accordance with the D.C. Historic Preservation Office

During the closure, NMWA will continue to offer a robust slate of online programs and events, virtual exhibitions and digital content. Plans are also underway to present off-site exhibitions and special events.

In less than two years, NMWA has raised over $50 million towards a capital campaign goal of $66 million. With the advent of the COVID-19 pandemic and rising costs in the construction industry, the renovation project costs have grown. Building on the campaign’s robust beginnings, NMWA will continue to solicit gifts throughout the life of the campaign.

“This renovation was the dream of our founder Wilhelmina Cole Holladay, who died on March 6th at age 98,” said Winton S. Holladay, Vice-Chair of the NMWA Board. “In the campaign’s quiet phase, donors and friends have stepped up in wonderful ways, putting us within sight of our campaign goal. With Billie’s passing, we are honored to carry her vision forward by completing this campaign and restoring our building for future generations.”

The museum’s capital campaign is directed by a steering committee of NMWA trustees, advisors, and senior museum staff and is currently supported by gifts from individuals, foundations, and corporations. In addition, the museum has received federal and city funding through competitive grants from the Institute of Museum and Library Services (Museums for America Grant) as well as a first-ever 2020 Cultural Institutions grant from Events DC, a semi-public company supported by D.C. taxpayer funds.

For more information, the capital campaign website displays renderings, tracks project progress, and offers ways to get involved.

About the Historic Building

Designed by the architecture firm Wood, Donn & Deming, the museum’s Classical Revival-style building was completed in 1908 as a temple for the Masons, an organization that did not allow women members. The 78,810-square-foot main building is listed on the DC Inventory of Historic Sites and the National Register of Historic Places. The exterior façade incorporates Tuscan and Mediterranean design elements in addition to Masonic symbolism.

In 1983, Wilhelmina and Wallace Holladay purchased the property to establish a museum dedicated to women artists. The building was refurbished in accordance with the highest design, museum and security standards. After the extensive renovations, which won numerous architectural awards, the National Museum of Women in the Arts opened to the public on 7 April 1987. In 1993, the museum purchased 5,300 square feet of adjacent property, and, following further renovation, the Elisabeth A. Kasser Wing opened in 1997, making the entire facility 84,110 square feet.

New Book | Art and Industry

Posted in books by Editor on May 20, 2021

Distributed in the US and Canada by The University of Chicago Press:

David Stacey, Art and Industry: Seven Artists in Search of an Industrial Revolution in Britain (London: Unicorn Publishing Group, 2021), 176 pages, ISBN: 978-1913491291, £25 / $38.

In seven linked essays, the author discusses paintings of industrial scenes by seven artists working in the period 1780–1830. Their unique and distinct responses to the subject-matter reveal a surprisingly coherent message. Joseph Wright of Derby invites us to consider the lives of the men, women and children working in Arkwright’s cotton mills at Cromford. John Opie, in his painting of a Cornish entrepreneur and a miner, acknowledges the value of new technology but leads us to reflect on class and the use of capital. Philippe-Jacques de Loutherbourg responds to the sublimity of the industrial landscape at Coalbrookdale but reveals the impact of an industry no longer subject to nature’s diurnal rhythms. Joseph Mallord William Turner presents an evolving response to the changes that Britain was undergoing. He observes with delight the opening up of pastoral scenery along the new canal routes but prompts the viewer to consider the environmental impact of industrial development. William Havell finds copper-mining employees in a place between heaven and hell in an industry subject to competition and the vagaries of demand. Penry Williams, in his paintings of ironworks at Merthyr Tydfil, raises the issue of the conditions that ironworkers and miners were facing as the gap widened between employer and employee. And the little-known and often-derided Henry Hawkins produces an image which lifts the lid on his slave-owning patron’s enterprise through an image of a slate quarry which suggests parallels with Dante’s Divine Comedy. Seven artists in search of an industrial revolution in Britain respond in their works with a coherent message on the impact of new technology, the use of capital and on conditions that saw the emergence of new social classes in Britain.

David Stacey is an independent art historian with a lifelong interest in British paintings of the eighteenth and nineteenth centuries. He has contributed articles to The British Art Journal, The Burlington Magazine, and other art history journals. He graduated with a degree in engineering science from the University of Oxford and has a postgraduate degree in the history of art from Birkbeck College, University of London. He has worked as an international water resources consultant in South and South-East Asia and the Middle East and is a Fellow of the Institution of Civil Engineers. He has two children and lives in London.


On Tour | Jan van Huysum Visits

Posted in exhibitions, museums by Editor on May 20, 2021

From the National Gallery’s press release (May 2021). . .

Jan van Huysum, Flowers in a Terracotta Vase, 1736–37, oil on canvas, 134 × 92 cm (London: The National Gallery, NG796).

Following the positive response to Artemisia Visits (2019), the National Gallery is delighted to announce Jan van Huysum Visits which will see Van Huysum’s magnificent Flowers in a Terracotta Vase (1736–37) travel to six locations across the United Kingdom in summer 2021.

The painting will visit Cornwall, Norfolk, the East Midlands, South Yorkshire, Scotland, and Northern Ireland. Each display will explore one of six ‘Ways to Wellbeing’: Connect, Be Active, Take Notice, Keep Learning, Give, and Care (for the Planet). Flowers in a Terracotta Vase will be on tour for approximately three months, from early June.

In each region, the painting will pop up in an unusual or unexpected non-museum venue; locations include a food bank and community library, a covered market, a former department store and community centres. The tour will promote ways in which art and culture can support wellbeing and reach audiences who have been disproportionately affected by Covid-19 and the UK lockdown.

At the heart of Jan van Huysum Visits is engagement with local communities. In each setting the Gallery is working closely with the venue as well as a local museum or gallery to ensure that as many people as possible can engage with the painting and make it come alive in new and different ways.

Jan van Huysum (1682–1749) was a native of Amsterdam and the last of the distinguished still-life painters active in the Northern Netherlands in the 17th and early 18th centuries, an internationally celebrated artist in his lifetime. His spectacular Flowers in a Terracotta Vase—which shows over 30 species of flowers and plants in bloom, unfurling in exquisite detail—is no shy, hide-in-a-corner painting. It’s meant to dazzle and it does. Van Huysum is after, and achieves, excess: a celebration of nature, an entertaining puzzle, and a display of wealth, culture, and fashion.

The vase towers above the viewer who is placed firmly below, looking up at it in a niche suitable for a Classical sculpture. The vase overflows with all types of flowers, from florid roses, peonies, mauve and red poppies to the humbler primroses, apple blossom and bachelor’s buttons. In the Dutch Republic, horticulture was a subject of national pride. This is a rich man’s bouquet made to look winsome and natural, but in reality, it’s carefully orchestrated, displaying not only a passion for flowers but an immense knowledge and understanding of them. Butterflies, a yellow ant, a fly, and hothouse fruit are added to the exotic mix, bringing the garden into the house as was the fashion in interior decoration. But one or two of the luscious grapes are past their best, perhaps suggesting the brevity of life but more likely indicating that a painted picture lives on long after the insects and flowers have vanished. Crystal drops of cool water, feathery leaves, delicate petals breathing their scent, the quivering wings of the red admiral butterfly all evoke the senses of touch, of smell, even of taste.

Flowers in a Terracotta Vase celebrates the longevity of the painted image and enduring impact art can have on our hearts and minds. The Gallery invites audiences from across the nation to engage with this splendid picture during the longer, brighter days that summer will bring. The vibrancy and abundance of Flowers in a Terracotta Vase will resonate with so many who have sought comfort and hope in the natural world during a trying year. Whether it be tending to their own gardens, enjoying the beauty and wildlife of national parks and woodlands, or simply pausing to notice the dewy petals of fresh blooms, visitors will find echoes of that in the vivid colours of Flowers in a Terracotta Vase.

Jan van Huysum Visits is part of the National Gallery’s national touring exhibitions programme, which aims to share paintings across the UK, creating a range of ways for the widest possible audience to explore and be inspired by the collection.

National Gallery Director, Dr Gabriele Finaldi, says, “This astounding, large flower painting will make an unexpected appearance in unexpected venues across the country. I hope it will make people think about art and the beauty of nature, encourage their own creativity, and inspire them to visit their own local museum or art collection.”

New Book and Podcast | 125 Treasures

Posted in books, on site, online learning by Editor on May 19, 2021

Hubert Martinet, Elephant Automaton, ca. 1770
(National Trust / Waddesdon Manor)

◊   ◊   ◊   ◊   ◊

In addition to this book celebrating the 125th anniversary of the National Trust (in 2020), the project includes a podcast, hosted by Alison Steadman, the first episode of which addresses Waddesdon Manor’s Elephant Automaton, made by Hubert Martinet (ca. 1770). Tessa Murdoch writes about the elephant for Apollo Magazine (14 May 2021), noting that “an in-depth study of the automaton, written by Jonathan Betts and Roger Smith, is also forthcoming.”

◊   ◊   ◊   ◊   ◊

Tarnya Cooper, 125 Treasures from the Collections of the National Trust (Swindon: National Trust Books, 2021), 224 pages, ISBN: 978-0707804538, £10.

This engaging, beautifully illustrated book brings together a selection of highlights from the National Trust’s vast collection. Arranged chronologically, starting with Roman sculpture and ending with 20th-century design, it focuses on museum-quality objects as well as important examples of decorative arts, furniture, textiles and objects with fascinating stories. The highlights—from Cardinal Wolsey’s purse to Rodin’s bust of George Bernard Shaw—are illustrated with exquisite photography and accompanied by illuminating captions. Based on the dedicated research of over 60 curators across the organisation, the book also includes a timeline of key moments in the Trust’s history.

Tarnya Cooper is the Curatorial and Collections Director at the National Trust.

Online Symposium | Opening Up! Collection Centre Strategies

Posted in conferences (to attend), online learning by Editor on May 19, 2021

From ArtHist.net:

Opening Up! Collection Centre Strategies
Online, SBMK and Museum Boijmans Van Beuningen, 28 May 2021

As a museum professional, how often have you invited a visitor into your museum’s storage facility? Probably never. As a museum visitor, how often have you thought, “I’d really like to see the works in storage?” Undoubtedly very often. Museum storage facilities have traditionally been invisible and inaccessible to the public, usually housed in anonymous warehouses outside the city or in cellars beneath the museum’s building. But there have been changes in recent years.

An iconic example is the new Depot Boijmans Van Beuningen in Rotterdam, which will open in the autumn of 2021. This storage facility will be fully accessible to the public and occupies a prominent position, right next to the museum. The Netherlands is not alone in developing new ideas about preserving collections and opening them up to the public. The Foundation for the Conservation of Contemporary Art (SBMK) and Museum Boijmans Van Beuningen have organised the online event Opening Up! Collection Centre Strategies about interesting international developments in the field of museum storage.

An international panel of six speakers will share their experiences of combining collection care with public access within their storage facility. How did they conceive and design the building? To what extent is it publicly accessible? How do they guarantee the safety of the collections? And how do they approach their visitors? The symposium will conclude with a round-table discussion with all speakers. As a participant, you will be actively involved in the online event: there will be lots of time for questions and comments from the international audience. The event will have a strong visual component with videos of the buildings’ architecture and internal layouts.

Participation costs €25 (€12.50 for students). You can register via the online form here. For the student registration rate, please also send a copy of your student card to aanmelden@sbmk.nl; otherwise the registration will not apply. The symposium is free for a number of museum employees who pay an annual contribution to the SBMK.

F R I D A Y ,  2 8  M A Y  2 0 2 1

2.45  Virtual Walk-in

3.00  Paulien ‘t Hoen (Coordinator SBMK) and Sandra Kisters (Head of Collections and Research, Museum Boijmans Van Beuningen), Welcome

3.10  Sjarel Ex (Director, Museum Boijmans Van Beuningen, Depot), Depot Boijmans Van Beuningen: A New Typology in Reconsidering Art and Conservation?

3.35  Joachim Huber (Consultant, Prevart GmbH, Konzepte für die Kulturgütererhaltung / Concepts for the Preservation of Cultural Assets, Winterthur, Switzerland), Clarifying Collections: An Approach in Seven Acts

4.00  Tim Reeve (Deputy Director and Chief Operating Officer, Victoria and Albert Museum, London), Designing a New Paradigm for Access to the Nation’s Attic

4.25  Break

4.45  Markus Leuthard (Head of the Collections Center, Swiss National Museum, Affoltern am Albis, Switzerland), The Swiss National Museum’s Collections Centre: Our Approach to Collections Care and Public Access

5.10  Jane Dini (Senior Curator of American Art, Brooklyn Museum, New York), Shimmering Shelves and Tiffany Lighting: Glamming-up Luce Visible Storage

5.35  Round Table Discussion with Speakers and Isabel Friedli (Curator at Schaulager, Basel, Switzerland)

New Book | William Blake’s Printed Paintings

Posted in books by Editor on May 18, 2021

Distributed by Yale University Press:

Joseph Viscomi, William Blake’s Printed Paintings: Methods, Origins, Meanings (London: Paul Mellon Centre for Studies in British Art, 2021), 256 pages, ISBN: 978-1913107208, £40 / $50.

An in-depth examination of William Blake’s glorious and acclaimed series of twelve monoprints

Among William Blake’s (1757–1827) most widely recognized and highly regarded works as an artist are twelve color printed drawings, or monoprints, conceived and executed in 1795. This book investigates these masterworks, explaining Blake’s technique—one he essentially reinvented, unaware of 17th-century precursors—to show that these works were produced as paintings, and played a crucial role in Blake’s development as a painter. Using material and historical analyses, Joseph Viscomi argues that the monoprints were created as autonomous paintings rather than as illustrations for Blake’s books with an intended viewing order. Enlivened with bountiful illustrations, the text approaches the works within the context of their time, not divorced from ideas expressed in Blake’s writings but not illustrative of or determined by those writings.

Joseph Viscomi is James G. Kenan Distinguished Professor of English Literature at the University of North Carolina at Chapel Hill.

%d bloggers like this: