The Burlington Magazine, March 2022
The eighteenth century in the March issue of The Burlington . . .
The Burlington Magazine 164 (March 2022)
G. B. Piranesi, Catalogo delle Opere, State I, with manuscript additions, 1761, etching, 40 × 30 cm (Private collection).
A R T I C L E S
• Andrew Robison, “Piranesi’s Catalogo delle Opere,” pp. 230–45. When Piranesi moved to new quarters in Rome in 1761 he had space to store and sell his prints rather than entrust them to booksellers. This prompted him to publish an illustrated sales catalogue in the form of an etching and engraving, of which a number of copied inscribed to his friends and patrons survive. Revised twenty-nine times before Piranesi’s death in 1778, the catalogue provides important evidence about his understanding as well as the dating of his prints, series of prints and illustrated books.
• Giovan Battista Fidanza, “Carlo Maratti’s Additions to the Barberini Venus,” pp. 260–65. In 1999–2000 a restoration of the sixteenth-century mural in the Palazzo Barberini, Rome, known as the Barberini Venus, which was remodelled with additions by Carlo Maratti in 1693, removed tempera overpainting in the belief that it post-dated his changes. A newly discovered document in the Barberini archives both provides the fullest contemporary record of Maratti’s work on the mural and indicates that the tempera additions were painted by him.
R E V I E W S
• Isabelle Kent, Review of the Spanish Gallery, Bishop Auckland, pp. 276–83. In October 2021 the only museum in Britain devoted to Spanish art opened in Bishop Auckland, County Durham. Part of the Auckland Project, which uses art, faith and heritage to fuel long-term regeneration, the museum offers an impressive if idiosyncratic representation of Spain in the sixteenth and seventeenth century. [Paintings by Zurbarán were purchased by the Bishop of Durham, Richard Trevor in 1756.]
• Laura Moretti, Review of the newly opened galleries for the permanent collection at the Palazzo Maffei in Verona, pp. 290–92.
• Imogen Tedbury, Review of the exhibition Willem van de Velde and Son (Amsterdam: National Maritime Museum, 2021–22), pp. 293–95.
• Clare Hornsby, Review of the exhibition Grand Tour: Sogno d’Italia da Venezia a Pompei (Milan: Gallerie d’Italia, Piazza Scala, 2021–22), pp. 295-98.
• Carl-Johan Olsson, Review of the exhibition True to Nature: Open-Air Painting in Europe 1780–1870 (Paris: Fondation Custodia, 2021–22), pp. 298-300.
• María Cruz de Carlos Varona, Review of Beatriz Blasco Esquivias, Jonatan Jair López Muñoz, and Sergio Ramiro Ramírez, eds., Las mujeres y las artes: Mecenas, artistas, emprendedoras y coleccionistas (Abada Editores, 2021), pp. 316–17.
• Susanna Zanuso, Review of Aurora Laurenti, Intagli rococo: professionalità ed elaborazione del gusto negli interni del Palazzo Reale di Torino (Accademia University Press, Turin, 2020), pp. 318–20.
The Burlington Magazine, February 2022
The eighteenth century in February’s issue of The Burlington . . .
The Burlington Magazine 164 (February 2022) — Northern European Art
Nathaniel Dance Holland, Portrait of Christian VII, King of Denmark, 1768, oil on canvas, 77 × 63 cm (Royal Collection Trust).
A R T I C L E S
• Sara Ayres, “Christian VII of Denmark’s Lost British Portraits,” pp. 155–63. In 1768–69 the young Christian VII of Denmark visited London and Paris, where several portraits of him were painted. Three were by artists born or working in Britain—Angelica Kauffmann, Edward Cunningham, known as Calze, and Matthew Peters. All are now lost, but evidence about the comissions survives in copies and prints, contemporary descriptions and documents in the Danish State Archives.
• Lars Hendrikman, “The Finding of the Infant Bacchus,” pp. 180–83.
R E V I E W S
• Camilla Pietrabissa, Review of the exhibition Venetia 1600: Births and Rebirths (Venice: Palazza Ducale, 2021–22), pp. 190–92.
• Ivan Gaskell, Review of the new galleries of Dutch and Flemish art at the MFA Boston (open from November 2021), pp. 195–98.
• Richard Stemp, Review of the exhibition Hogarth and Europe (London: Tate Britain, 2021–22), pp. 198–200.
• Maryl Gensheimer, Review of Fabio Barry, Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment (Yale UP, 2020), pp. 216–17.
• Clare Hornsby, Review of Ortwin Dally, Maria Gazzetti, and Arnold Nesselrath, eds., Johann Joachim Winckelmann (1717–1768): Ein Europ isches Rezeptionsph nomen / Fenomeno Europeo della Ricezione (Michael Imhof Verlag, 2021), pp. 217–18.
• Robert Skwirblies, Review of Lea Kuhn, Gemalte Kunstgeschichte: Bildgenealogien in der Malerei um 1800 (Wilhelm Fink Verlag, 2020), pp. 218–19.
• Thomas Stammers, Review of Stacey Boldrick, Iconoclasm and the Museum (Routledge, 2020), p. 222.
O B I T U A R I E S
• Marjorie Trusted, “Christian Theuerkauff (1936–2021),” pp. 223–24. For many years Deputy Director of the sculpture collection at the Bode Museum, Berlin, and honorary professor at the city’s Free University, Christian Theuerkauff was a leading scholar of Baroque ivories, whose expert connosseurship and archival research definitively shaped our understanding of many of the outstanding sculptors in the medium.
Lecture | Anne Lafont, Making Ornamental Africa
From the BGC:
Anne Lafont, Making Ornamental Africa: An Enlightenment Process
The Iris Foundation Awards Lecture
Online and in-person, Bard Graduate Center, New York, 26 April 2022, 6pm
Could it be that in the geographical conception of art developed in Enlightenment Europe, the primary role and the function of the so-called Black Continent was one of ornament? Or, on the contrary, did the aesthetic conception elaborated by the European Enlightenment deprive Africa of artistic potentiality? These two opposing hypotheses coexist in eighteenth-century artworks and texts. The talk will focus on some objects whose material, form, argument, use and reception invite us not only to historicize the notion of African art, but also to identify the registers of categorization specific to this pivotal eighteenth-century moment, when both anthropology and aesthetics were invented. African objects, as well as European objects inspired by the African presence in Europe, rub up against the emergence of these two disciplines, which intersected around the importance of the senses and sight, in particular.
Registration is open for a limited in-person audience. Bard Graduate Center requires proof of vaccination and photo identification to enter the building. Guests are required to wear masks regardless of vaccination status. This talk will also be available on Zoom (registration is available here). A link will be circulated to registrants by 4pm on the day of the event. This event will be live with automatic captions.
Anne Lafont is an art historian and professor at the École des hautes études en sciences sociales. She is interested in the art, images, and material culture of France and its colonial empire in the modern era, as well as in historiographical questions related to the notion of African art. She has published on art and knowledge in an imperial context, on gender issues in the discourse on art in the 18th and 19th centuries, and her most recent book is entitled L’Art et la Race: L’Africain (tout) contre l’oeil des Lumières. It was awarded the 2019 Fetkann Maryse Condé Literary Prize and the 2020 Vitale and Arnold Blokh Prize. Anne Lafont participated, as a member of the scientific committee, in the Musée d’Orsay exhibition The Black Model (2019). In 2021, she was awarded a residential fellowship from the cultural services of the French Embassy in the United States, the Villa Albertine, and she serves, for the academic year 2021–22, as the Robert Sterling Clark Visiting Professor of Art History at Williams College (Massachusetts).
Exhibition | Restoring Williamsburg
Arch Section and Pedestal Design on a Pine Board, Belle Farm, Gloucester County, Virginia. ca. 1775–80
(The Colonial Williamsburg Foundation, AF-VA22560.1.1)
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Opening in April at Colonial Williamsburg:
Restoring Williamsburg
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, 20 April 2022 — December 2024
Since the 1930s, Colonial Williamsburg has been building its architectural collection. Now comprised of over 15,000 architectural fragments, it is an important and irreplaceable source of information on colonial American structures. The collection comes from existing structures and buildings lost to time. It includes everything from nails, bricks, framing and doors to wallpaper, plaster, and paint samples. These fragments play an important role in our understanding of 18th-century building materials and construction, and guide our everyday preservation of Colonial Williamsburg’s Historic Area. Highlights of the exhibition include the contents of a rat’s nest found during restoration of Wetherburn’s Tavern, the original weathervane from the Magazine, and a split-screen video showing the town as it appeared in 1930 and in 2014.
From the press release (14 March) . . . .
Southwest dining room of the reconstructed King’s Arms Tavern, Colonial Williamsburg.
Decades ago a simple wooden board in use as a shelf was discovered in Belle Farm, an 18th-century house in Gloucester County, Virginia. It turned out to be much more than an untrained eye would notice at first glance: etched into the surface was the original design for two arches that are still to be seen in the house today. This extraordinary artifact provided Colonial Williamsburg’s architectural historians with valuable information on design development and layout in the last half of the 1700s. The design was later used as the model for the arches in the southwest dining room of the reconstructed King’s Arms Tavern on Colonial Williamsburg’s Duke of Gloucester Street. This etched board is one of approximately 80 objects that will be on view in Restoring Williamsburg, a new exhibition in the James Boswell and Christopher Caracci Gallery at the DeWitt Wallace Decorative Arts Museum, one of the recently expanded Art Museums of Colonial Williamsburg. Opening on 30 April 2022, the exhibition will reveal how architectural historians and preservationists know what they know and do what they do. Through extremely rare objects and artifacts from the Colonial Williamsburg architectural collection, visitors will gain insights into the restoration and preservation work undertaken since the 1920s at the largest living history museum in the world and offer valuable clues to enhance their exploration of the Historic Area. Restoring Williamsburg will remain on view through December 2024.
Belle Farm with interior arches, ca. 1775–80.
“The art and science of accurately restoring original 18th-century buildings and meticulously recreating lost structures had their geneses at Colonial Williamsburg in the 1920s,” said Ronald L. Hurst, the Foundation’s vice president for museums, preservation, and historic resources. “As we enter the institutions 96th year, this is an exciting opportunity to reflect on the astonishing accomplishments of generations of Foundation scholars and tradespeople.”
Among the earliest and rarest surviving architectural elements from Williamsburg to be seen in Restoring Williamsburg is a ca.1695 scuttle door from the Nelson-Galt House on Francis Street (shown at left top), which served as an access hatch for the attic space. Its detailing includes foliated hinges and molded battens, typical of Williamsburg-area buildings in the 17th and early 18th centuries. Another extremely rare object appearing in the exhibition is a well-preserved 17th-century leaded casement window from Massachusetts (shown at bottom left). Such early windows were still to be found in Williamsburg as late as the 1760s. Archaeological excavations are the source of most information about the use of casement windows in Williamsburg. For example, the turned leads excavated at the site of Charlton’s Coffeehouse were used to guide the design of the casement windows now seen in the building’s cellar. The discovery of an iron staple in the foundations proved the location of what was by then a very old-fashioned window form.
“The architectural elements in the exhibition offer a snapshot of our collection, which forms the basis for the restoration and preservation work undertaken here at Colonial Williamsburg. They not only provide us actual 18th-century profiles, colors, and materials, but help further our understanding of Williamsburg’s 18th-century built environment,” said Dani Jaworski, Colonial Williamsburg’s manager of architectural collections.
Colonial Williamsburg’s ongoing restoration process frequently causes the architectural preservation team to reevaluate their understanding of individual buildings. One of the best examples of this process is illustrated by an overmantel painting of a landscape scene, originally installed in the 18th-century George Reid House. In order to try to date the painting, the team decided to restudy the building itself. Surprisingly, they discovered that the earliest section likely dates to the 1710s, making it the oldest surviving domestic structure on Duke of Gloucester Street. The new exhibition will show not only a rare paint-decorated panel, but explain how paint analysis, conservation, documentary research and architectural investigation combined to update both the historical record and the physical appearance of an original Historic Area building.
Restoring Williamsburg is generously funded by Thomas L. and Nancy S. Baker.
New Book | The Material World of Eyre Hall
From Giles, in association with the Maryland Center for History and Culture, Baltimore:
Carl Lounsbury, ed., The Material World of Eyre Hall: Four Centuries of Chesapeake History (London: Giles, 2021), 448 pages, ISBN: 978-1911282914, £75 / $90.
With an Introduction by Cary Carson, and contributions by Laura Pass Barry, Bennie Brown, Edward A. Chappell, Sam Florer, Erik Goldstein, Haley Hoffman, Neal T. Hurst, Angelika R. Kuettner, Mark B. Letzer, Carl R. Lounsbury, George W. McDaniel, Katie McKinney, Elizabeth Palms, Margaret Pritchard, Sumpter Priddy, Will Rieley, Alexandra Rosenberg, Gary Stanton, Robert Watkins, and John Watson
A microhistory of 400 years of southern USA history told in the study of one place, Eyre Hall on the eastern shore of Chesapeake Bay.
Erected in 1759 on the Eastern Shore of Virginia, Eyre Hall is still occupied by descendants of its builder. It retains a rich variety of objects from furniture and books to silver and paintings acquired by the family, reflecting the tastes and aspirations of its many different generations. Only a small handful of places in Virginia can claim such continuity. The material culture of Eyre Hall illustrates the ever-changing meanings of this place in American culture from the seventeenth through the twenty-first century. It represents the cultural endeavours of Southern society built on slavery and impacted by the tribulations of wars, emancipation, and economic depressions. This study explores the mutability of this inheritance in the wake of such transformative events. The book is divided into four sections. The first recounts the history of those who lived at Eyre Hall. The second examines the architecture of the house and its service buildings. The third explores the formal garden. The fourth section is a catalogue raisonné of its objects.
Carl R. Lounsbury was Senior Architectural Historian at Colonial Williamsburg Foundation (now retired) and Adjunct Associate Professor of History at the College of William and Mary. Cary Carson was Senior Vice President of Research at Colonial Williamsburg (now retired).
C O N T E N T S
Acknowledgments
Foreword by J. Thomas Savage
Eyreloom: An Introduction by Cary Carson
I. The Changing Fortunes of the Eyre Family through Four Centuries
Golden Quarter by Carl Lounsbury
Eyreville: Archaeology of the Late Seventeenth Century by Haley Hoffman
Eyre Hall: Power House by Carl Lounsbury
Working the Land by Sam Florer
The Bounty of Eyre Hall: From Working Plantation to Summer Retreat in the Long Nineteenth Century by Carl Lounsbury
Escaping Enslavement by Whaleboat, 1832 by Alexandra Rosenberg
Health Retreats and Pleasure Grounds by Robert Watkins
Hoofprints by Elizabeth Palms
Eyre Hall in the Twentieth Century: ‘I’m Home’ by George McDaniel
A Scrapbook of Recollections by Those Who Called Eyre Hall ‘Home’ by George McDanielII
II. Architecture
The Architecture of the House by Carl Lounsbury
Architectural Hardware by Edward Chappell
Wallpaper by Margaret Pritchard
Domestic Service Buildings by Carl Lounsbury
Home Farm: Overseer’s House by Carl Lounsbury
III. Landscape
Garden and Grounds by Will Rieley
Green-house by Will Rieley
Graveyard by Carl Lounsbury
IV. Catalogue
Furniture by Sumpter Priddy
Silver by Mark Letzer
Ceramics by Robert Hunter and Angelika Kuettner
Glass by Angelika Kuettner
Paintings by Laura Pass Barry
Maps by Katie McKinney
Prints by Katie McKinney
Books by Bennie Brown
Musical Instruments by John Watson
Sheet Music by Gary Stanton
Costume and Textiles by Neal Hurst
Ironwork and Arms by Erik Goldstein
Index
Photo Credits
New Book | Lover’s Eyes
This is an updated and expanded version of the 2012 exhibition catalogue. From Giles:
Elle Shushan, ed., with additional contributions by Graham Boettcher and Stephen Lloyd, Lover’s Eyes: Eye Miniatures from the Skier Collection (London: Giles, 2022), 280 pages, ISBN: 978-1911282938, £40 / $50.
Until the early 2000s, little had been written about eye miniatures, or ‘Lover’s Eyes’, and their short-lived popularity at the end of the 18th and early 19th centuries, when hand-painted portraits of single human eyes were set in jewellery, or created to memorialize a deceased loved one. This new expanded and updated edition of the 2012 volume The Look of Love examines their role in the broader context of Georgian and early Victorian portrait miniatures; and looks in detail at the creation, and appeal, of these extraordinary objects.
Dr. and Mrs. David A. Skier’s collection of eye miniatures is one of the most complete such collections of this genre of miniature painting anywhere in existence. This volume features over 130 pieces from the Skier Collection, with 36 extraordinary newly acquired pieces, including two of the three known existing ‘lovers’ lips’, and six examples of a delightful sub-category known as ‘Flower Eyes’. There are four new illustrated essays: on forgeries and fakes of lovers’ eyes, on ‘Flower Eyes’, on the persistence of the eye image which continues the tradition of lovers’ eyes, and an essay on the eye miniatures created by Richard Cosway.
Elle Shushan is a specialist dealer, author, lecturer, and museum consultant. She is a member of the Antiques Dealers’ Association of America, the British Antique Dealers’ Association, CINOA, the Private Art Dealers Association, and the Association of Historians of American Art.
Stephen Lloyd is curator of the Derby Collection at Knowsley Hall, Merseyside. From 1993 to 2009 he was Assistant Keeper and then Senior Curator at the Scottish National Portrait Gallery, where he co-curated the exhibition The Intimate Portrait: Drawings, Miniatures, and Pastels from Ramsay to Lawrence.
Graham Corray Boettcher is the director of the Birmingham Museum of Art in Birmingham, Alabama.
C O N T E N T S
Collectors’ Preface
Acknowledgements
The Artist’s Eye by Elle Shushan
Eye Miniatures by Richard Cosway by Stephen Lloyd
Symbol & Sentiment: Lover’s Eyes and the Language of Gemstones by Graham Boettcher
Floriography by Elle Shushan
Fake of Fashion by Elle Shushan
Love Never Dies by Graham Boettcher
Catalogue of the Exhibition by Graham Boettcher, Nan Skier, and Elle Shushan, with the assistance of Laura Wallace and Maggie Keenan
Index
Author biographies
Harvard Art Museums Receive Important Gift of American Silver
Joseph Richardson Sr., The Hannah Emelen Logan Teapot, ca. 1745, silver and wood (Harvard Art Museums / Fogg Museum, The Pollack Collection, gift of Daniel A. Pollack A.B. ’60 and Susan F. Pollack A.B. ’64, 2020.199).
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From the press release(22 March 2022) . . .
The Harvard Art Museums announce a transformative gift of 21 works of 18th-century American silver from the collection of Daniel A. Pollack and Susan F. Pollack. The gift comprises a range of finely made vessels and table implements intended for domestic use, including cups, bowls, spoons, tankards, and teapots crafted by noted silversmiths from Boston, New York, Philadelphia, and Trenton. There is also a stunning caudle cup, an example of ecclesiastical silver made by Edward Winslow and believed to have been used during communion at First Congregational Church in Milford, Connecticut. The Pollacks’ gift strengthens the museums’ noted holdings of 17th- to 20th-century silver and comes at a time when curators and postdoctoral fellows are working to reimagine the balance among paintings, sculptures, and design objects on view in the galleries.
“The story of silver is in many ways a story of the Americas. Like other commodities such as coffee, mahogany, sugar, and tea, silver helps us unite the known world of the 16th century with our own time,” said Horace D. Ballard, the Theodore E. Stebbins Jr. Associate Curator of American Art at the Harvard Art Museums. “The Pollacks’ generosity allows us to more fully engage the capacious and complex story of European privilege and Afro- and indigenous labor across the Spanish-occupied Americas and British North America during the age of colonialization. It is estimated that 50 to 80 percent of the world’s silver from the 16th to early 19th century came from the infamous silver mines of Potosi in the Viceroyalty of Peru. Silver ore was shipped to China from America’s primary Pacific port in Peru; traded to Europe along with porcelain; melted into coin, plate, or brick; and then traded back to the Americas through the eastern seaboard ports of the Atlantic coast, to be molded, designed, and sold to merchants, religious institutions, and wealthy families. Works by American silversmiths of the 18th and 19th centuries are noted for their innovative silhouettes, turnings, and naturalistic allusions to animals and plants. The Pollack gift and its upcoming installations in our galleries will foreground this global orientation around luxury, leading us to ask new questions about hemispheric identity and aesthetic legacy.”
Paul Revere Jr., Two ragout spoons, 1786, silver (Harvard Art Museums / Fogg Museum, The Pollack Collection, gift of Daniel A. Pollack A.B. ’60 and Susan F. Pollack A.B. ’64, 2020.197.1, 2020.197.2).
Highlights of the gift include, from Boston-based silversmiths, a pair of ragout (serving) spoons from 1786 by Paul Revere, Jr., and a c. 1765 rococo-style cream jug and c. 1775 porringer (small bowl) with a keyhole-pattern handle by Benjamin Burt; a soup ladle with a shell-shaped bowl from c. 1772 and a waiter (small salver) from c. 1765 by the pioneering Jewish silversmith and philanthropist Myer Myers of New York; and an apple-shaped teapot from c. 1745 by Joseph Richardson, Sr., for prominent Quakers Hannah and William Logan, as well as a coffeepot by Richardson’s sons, Joseph Jr. and Nathaniel, both of whom trained with their father in Philadelphia. These are the first works by the Richardsons to enter the museums’ collections. The earliest object from the gift is the aforementioned caudle cup from 1707 by Edward Winslow of Boston.
Over the next six months, select objects from the Pollack gift will be installed in galleries on Level 2 of the museums. By mid-March, the Winslow caudle cup and the Myers soup ladle, among other objects, will be installed in the silver cabinet. By mid-May, the case featuring design objects in the museums’ Atlantic World gallery will highlight a rare two-handled silver punch strainer designed in the 1760s by Daniel Parker of Boston. By late July, the Pollack Arcade gallery on the second floor will host a case of 14 objects from the gift. Interpretive labels for the case will address Daniel Pollack’s longstanding commitment to American art at the Harvard Art Museums while also foregrounding the global threads of racialized labor and colonial trade at the heart of America’s colonization and our national becoming.
This gift of silver follows Daniel Pollack’s passing in October 2019 and builds upon a number of other significant gifts and generous support from the Pollacks over the last 17 years. An ardent supporter of the museums, Daniel was a member of the Director’s Advisory Council and served as chair of the American Art Curatorial Committee. The couple’s commitment also includes contributions toward the renovation and expansion of the Harvard Art Museums (which reopened in the fall of 2014) as well as the naming of four arcade galleries on the second floor overlooking the Calderwood Courtyard.
Edward Winslow, Caudle cup, 1707, silver (Harvard Art Museums / Fogg Museum, The Pollack Collection, gift of Daniel A. Pollack A.B. ’60 and Susan F. Pollack A.B. ’64, 2020.203).
“We are thrilled to be able to honor Dan’s legacy; I’m grateful to Susan for her gracious partnership and support,” said Martha Tedeschi, the Elizabeth and John Moors Cabot Director of the Harvard Art Museums.
Previous gifts of art include a 2016 gift of three pieces of ecclesiastical silver: a beaker (c. 1670) and two tankards (1690; 1759) used by churches in Salem, Massachusetts, for over 300 years. Other gifts have included prized paintings by American artists: Still Life with Pewter Candlestick and Clarinet (1886) by William Michael Harnett; and the trompe l’oeil-style Hanging Woodcock (1897) by George Cope and Theodore Roosevelt’s Cabin Door (1905) by Richard LaBarre Goodwin, the first works by either of these artists to enter the museums’ collections. Through the establishment of the Daniel A. Pollack, Class of 1960, American Art Acquisition Fund, the couple has supported the purchase of 19 paintings, including the highly detailed Still Life with Watermelon (1822) by Sarah Miriam Peale, one of the first professional female artists in the United States; the kaleidoscopic Ventriloquist (1952) by Jacob Lawrence, a prodigy of the Harlem Renaissance; and a stunning littoral scene of Rhode Island by Canadian-born African American painter Edward Mitchell Bannister—the first acquisition for the museums made by new American art curator Horace Ballard.
Daniel A. Pollack (Harvard College A.B. ’60, University of Oxford M.A. ’62, Harvard Law School LL.B. ’65) was a distinguished lawyer who founded and led the Pollack & Kaminsky law firm in New York City for more than 40 years, before joining the New York office of McCarter & English in 2009. Susan F. Pollack (Harvard Radcliffe Class of 1964, Harvard Law School ’67) has served as general counsel to New York City’s Department of Consumer Affairs and as a senior lawyer at Citibank; she has worked with the law firms of Barrett, Smith, Schapiro & Simon as well as Curtis, Mallet-Prevost, Colt & Mosle.
Online Talk | Caroline Stanford on Eleanor Coade
From The Royal Oak Foundation:
Caroline Stanford | Eleanor Coade and Her Remarkable Stone
Online, The Royal Oak Foundation, 30 March 2022, 2pm (ET)
Eleanor Coade (1733–1821) was a successful Georgian entrepreneur who created artificial stone for use in monuments, which she called Coade stone. Inventing the recipe and the firing technique, Mrs. Coade bought an existing artificial stone factory in South London in 1769 and turned out Coade stone architectural detailing, urns, tombs, and statues for the next 50 years. She combined artistic flair with successful marketing skills, and every architect of the time including Robert Adam, Sir John Soane, John Nash, and James and Samuel Wyatt commissioned her work for their projects. Her manufactory’s output was mostly classical in style but also produced wares in Gothic, Egyptian, and Chinese styles. Mrs. Coade’s genius lay in her entrepreneurship—convincing designers that her product was better than natural stone for its durability and weatherproof nature.
In an era, when successful businesswomen were far from typical, Eleanor Coade was exceptional. Many examples of Coade stone made during and after the inventor’s lifetime remain in the UK and beyond, including the South Bank lion at the east end of Westminster Bridge. The Landmark Trust’s historian, Caroline Stanford, will talk about this successful 18th-century business woman and her business practice, describing how Coade stone transformed late-Georgian architecture, including its use in America. Stanford will also feature Belmont, Coade’s own villa, rescued and restored by the Landmark Trust and available to rent.
Caroline Stanford read Modern History at Jesus College, Oxford and has two Masters in Early Modern History from Birbeck College London and in Historic Conservation at Oxford Brookes. She has been The Landmark Trust’s historian since 2001 and writes and speaks extensively about the Landmark Trust’s buildings. She was research historian for the Landmark Trust’s 2015 restoration of Eleanor Coade’s seaside villa, Belmont in Lyme Regis. A Fellow of the Society of Antiquaries, Stanford has also served on the committee of the Society of Architectural Historians of Great Britain. She co-authored Landmark: A History of Britain in 50 Buildings and has contributed to many television and radio programmes. She is currently working on a part time DPhil in Architectural History at Oxford University on “Fired Artificial Stone, 1650–1850” and is a leading Coade scholar.
Online via Zoom Webinar
Wednesday, 30 March 2022, 2.00 pm (ET)
$15 ROF members; $20 non-members
Recording Rental
Available between Thursday, 31 March and Monday, 11 April
Rent the recorded lecture to watch at your leisure
$15 ROF members; $20 non-members
ASECS 2022, Baltimore
Baltimore’s Inner Harbor
(Photo by Patrick Gillespie, September 2016; Wikimedia Commons)
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From ASECS:
2022 American Society for Eighteenth-Century Studies Conference
Hilton Baltimore Inner Harbor, 31 March — 2 April 2022
The 52nd annual meeting of the American Society for Eighteenth-Century Studies takes place in Baltimore. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by Aaron Wile and Dipti Khera and scheduled for Thursday afternoon. HECAA’s annual business meeting will take place online in advance of the conference on March 25. A selection of 30 additional panels is included below (of the 172 sessions scheduled, many others will, of course, interest HECAA members). For the full slate of offerings, see the program.
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T H U R S D A Y , 3 1 M A R C H 2 0 2 2
Time and Temporality
Thursday, 8:00–9:30am, Key 1
Chair: Craig HANSON, Calvin University
1. Helena YOO ROTH, CUNY, “The Many Deaths of George II and Colonial Time Consciousness”
2. Stuart SHERMAN, Fordham University, “‘Unknown to All the Rest’: the Play of Time in Restoration Prologues and Epilogues”
3. Alexander CREIGHTON, Harvard University, “Tristram Shandy’s Variations on Habit”
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How ‘Byzantine’ was the Eighteenth Century? New Insights on the Christian Orthodox Art and Architecture of the Late Ottoman Empire, Part I
Thursday, 8:00–9:30am, Paca
Chair: Demetra VOGIATZAKI, Harvard University and Nikolaos MAGOULIOTIS, ETH Zurich/gta
1. Alper METIN, Università Sapienza di Roma, “Reflections of the So-called Ottoman Baroque on the 18th-Century Orthodox Buildings: Towards the Emergence of a New Imperial Architectural Synthesis?”
2. Theocharis TSAMPOURAS, University of Western Macedonia / Greek Ministry of Culture (Ephorate of Antiquities of Kozani), “Artists and Patrons Changing the Norms of Post-Byzantine Painting in the Eighteenth-Century-Ottoman Balkans”
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Skin & Bone: Animal Substrates
Thursday, 8:00–9:30am, Pickersgill
Chair: Sarah GRANDIN, The Clark Art Institute
1. Katherine FEIN, Columbia University, “Cracks in the Ivory: The Violence of Portrait Miniatures”
2. Catherine GIRARD, St. Francis Xavier University, “Forms of Erasure: Theorizing Reuses of Indigenous Beaver-Pelt Coats in European Hats”
3. Marianne VOLLE, York University/Glendon College & Université Paris 1 Panthéon- Sorbonne, “Flora Meets Fauna: A Reflection on the Use of Vellum for Botanical Illustrations at the Jardin du Roi”
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How ‘Byzantine’ was the Eighteenth Century? New Insights on the Christian Orthodox Art and Architecture of the Late Ottoman Empire, Part II
Thursday, 9:45–11:15, Paca
Chair: Demetra VOGIATZAKI, Harvard University and and Nikolaos MAGOULIOTIS, ETH Zurich/gta
1. Alexandra COURCOULA, MIT, “Ottoman Ecclesiastical Objects in the Benaki Museum: Shaping Greek National Historiography and Perceptions of Ottoman Art”
2. Maria GEORGOPOULOU, Gennadius Library, American School of Classical Studies at Athens, “Center and Periphery in the Ottoman Balkans: The Cultural Heritage of Ottoman, Turkish, Post-Byzantine and Greek Monuments”
3. Cosmin MINEA, ETH Zurich, “Writings about Romanian Art in the Late 19th Century and the Rise of the Brâncovenesc Heritage as National Style”
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Materials of Global Trade: Networks, Mobility, and Transformation
Thursday, 9:45–11:15, Key 5
Chair: Jennifer GERMANN, Independent Scholar
1. Tara ZANARDI, Hunter College, CUNY, “Bittersweet Empire: Alcora, Natural History, and the Chocolate Service”
2. Emily Rose BEEBER, University of Delaware, “Rubens Peale with a Geranium: Botanical Science and Slavery in the Early Republic”
3. Christina LINDEMAN, University of South Alabama, “Vermilion and Cinnabar: Seeing Red in Eighteenth-Century Europe”
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Spreading the Image: Print Cultures
Thursday, 11:30–1:00, Key 10
Chair: Susanne ANDERSON-RIEDEL, University of New Mexico
1. Michael FEINBERG, University of Wisconsin, Madison, “Flaming Landscapes in Stedman’s Narrative of a five year expedition”
2. Arthur LEE, Johns Hopkins University, “Illustrating the Haitian Revolution: Marcus Rainsford and Atlantic Visual Politics”
3. Ruth DAWSON, University of Hawaiʻi at Mānoa, “Picturing an Upstart Tsarina for a Downmarket Audience: Early Prints of Catherine the Great”
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Objects and the Making of Enlightenment Selves
Thursday, 11:30–1:00, Paca
Chair: Mary PEACE, Sheffield Hallam University, and Joelle DEL ROSE, College for Creative Studies
1. Sara WHISNANT, East Tennessee University, “‘The Sense of Taste’: Agency and Identity in Eighteenth-Century Group Portraiture”
2. Katherine ISELIN, University of Missouri, “Women and Eighteenth-Century Antiquarianism”
3. Lauren KELLOGG DISALVO, Dixie State University, “Women and Eighteenth-Century Antiquarianism”
4. Mary CRONE-ROMANOVSKI, Florida Gulf Coast University, “The Circulation of Material Objects In and Across Novels by Women”
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Gale Digital Scholar Lab, Lunch and Learn
Thursday, 1:00–2:15, Tubman B
Gale invites ASECS members to a lunch conversation about Gale Digital Scholar Lab, a text and data mining and visualization tool built specifically for primary sources. Using the analysis tools in the Lab, researchers can explore topics and patterns across collections including ECCO. During the session, Gale will provide an overview of the tool and case studies of how it’s been used in teaching and research at institutions around the world. Register at: https://forms.gle/hTMhLKirWMXm4usTA
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Anne Schroder New Scholars Session (HECAA)
Thursday, 2:30–4:00, Key 12
Chair: Aaron WILE, National Gallery of Art, and Dipti KHERA, New York University
1. Zoë DOSTAL, Columbia University, “From Idle to Industrious: Picturing Women Beating Hemp in the Bridewell”
2. Anna FICEK, CUNY Graduate Center, “From Print to Parlor: Les Incas’ Long Shadow in Visual and Decorative Arts”
3. Jinyi LIU, New York University, “Seaborne Craftsmen and Their Elastic Workshop Knowledge: An Eighteenth-Century Fujianese-made Sculpture of Mourning Mary”
4. Ankita SRIVASTAVA, Jawaharlal Nehru University, “The Architect and the Marchese: Two Italians at the Court of Begum Samru of Sardhana, India”
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Seen Here Making a Masterpiece: Rendering Artists, Musicians, and Authors in Painting, Poetry, Sculpture, and Prose [South-Central Society for Eighteenth-Century Studies]
Thursday, 2:30–4:00, Douglass
Chair: TBD
1. Bradford MUDGE, University of Colorado, Denver, “Transmediation and Portraiture”
2. Kristin O’ROURKE, Dartmouth College, “Picturing Artists and Writers: Media Specificity, Genre and Cultural Mythmaking”
3. Kevin L. COPE, Louisiana State University, “My Easel Just Fell into an Abysm and I’m under a Tidal Wave: Picturing Earthquake Experiencers”
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Performing the Eighteenth Century Today
Thursday, 4:15–5:45, Key 2
Chair: Ellen WELCH, University of North Carolina at Chapel Hill
1. Olivia SABEE, Swarthmore College, “Eighteenth-Century Performance Theory and Twenty-First Century Performance: Diderot, Noverre, The Noble, and the Grotesque”
2. Amanda MOEHLENPAH, University of North Carolina at Chapel Hill, “Foreign and Familiar: Cultural Codes and Affective Performance in Eighteenth-Century Ballet”
3. Meredith MARTIN, New York University, “Reimagining the Ballet des Porcelaines: Commerce, Colonialism, and Chinoiserie”
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Reproduction and Futurity, Part I
Thursday, 4:15–5:45, Key 9
Chair: Jane WESSEL, U.S. Naval Academy
1. Kirsten MARTIN, Rutgers University, “‘A Kind of Magick’: Imitation and Futurity in Sir Joshua Reynolds’s Pedagogy”
2. Laura EARLS,University of Delaware, “‘They could hardly persuade themselves they were not human creatures’: Women Waxwork Sculptors and Reproduction in the British Atlantic World”
3. Chelsea PHILLIPS, Villanova University, “Conceiving Genius: Sarah Siddons and the Future of Tragedy”
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Members’ Reception
Thursday, 6:00–7:30, Eutaw Street (Weather Permitting)
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Eighteenth-Century Game Night
Thursday, 7:30–midnight, Key 12
An open house to explore games inspired by the eighteenth century. For more information or to sign up for games, see http://aub.ie/asecs22games. Game Night also will be held on Friday, April 1.
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F R I D A Y , 1 A P R I L 2 0 2 2
The Eighteenth-Century Last Will and Testament, Part I
Friday, 9:45–11:15, Douglass
Chair: Pamela PHILLIPS, University of Puerto Rico, Río Piedras
1. Yvonne FUENTES, University of West Georgia, “Spanish Testaments, Wills, and Inventories: Bridging Heaven and Earth”
2. Melanie HAYES, Trinity College Dublin, “Crafted Legacies: Artisans’ Wills in Early Georgian Britain”
3. Stephanie KOSCAK, Wake Forest University, “‘Tokens of My Love’: Money, Memory, and Mourning in Eighteenth-Century England”
4. Emily ENGEL, Independent Scholar, “Portraits and Luxury in Eighteenth-Century South America”
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Let’s Get Small: Micro-Art Histories, Part I
Friday, 9:45–11:15, Key 6
Chair: Melissa HYDE, University of Florida
1. Rori BLOOM, University of Florida, “Miniature Portraits as Erotic Currency in Casanova’s Histoire de ma vie”
2. Jeff RAVEL, MIT, “An Eye on Theatrical Disorder: France and England, ca. 1800”
3. Yasemin ALTUN, Duke University, “Original-itty in Translation: Sophie Chéron’s Creative Reproduction of Miniature Gems”
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Presidential Session | Venice: Real and Imagined
Friday, 11:30–1:00, Key 12
Chair: Irene ZANINI-CORDI, Florida State University
1. Rebecca SQUIRES, Katholieke Universiteit Leuven, “Vedute of Venice: The Visual Construction of the Picturesque”
2. John HUNT, Utah Valley University, “Imaginary Hells: Witches and Magic Wells in Early Modern Venice”
3. Susan DALTON, Université de Montréal, “Venice’s Amazon? Giustina Renier Michiel’s Strategic Accommodations of Occupying Forces”
The panel will begin with a performed reading: “Giustina Renier Michiel’s and Chateaubriand’s Views on Venice,” presented by Aleksondra HULTQUIST, Stockton University, and Sayre GREENFIELD, University of Pittsburgh at Greensburg. *This reading is supported by the Arts, Theater, and Music Fund*
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Curious Taste: The Transatlantic Appeal of Satire
Friday, 11:30–1:00, Paca
Chair: Nancy SIEGEL, Towson University
1. Cynthia ROMAN, The Lewis Walpole Library, Yale University, “Museums ‘Look down on Them’ Librarians ‘Don’t Know How to Handle Them.’ The Layered Histories of Scholarship and Collecting of Eighteenth-Century British Satiric Prints at the Lewis Walpole Library”
2. Rebecca SZANTYR, Sterling and Francine Clark Art Institute, “Compiling Singularities: Alexander Anderson’s The Wheel of Fortune”
3. Allison STAGG, Technische Universitat Darmstadt, Germany, “Charles Pierce’s Album of Caricatures”
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Let’s Get Small: Micro-Art Histories, Part II
Friday, 11:30–1:00, Key 6
Chair: Melissa HYDE, University of Florida
1. Aoife COSGROVE, Trinity College Dublin, “Isabel Farnesio, Amateur: A Small-Scale Artist in a Big World”
2. Philippe HALBERT, Yale University, “Rouge, Redress, and the Sauvage: Reading Madame Bégon as Microhistory 1748–1753”
3. Ashley HANNEBRINK, Harvard University, “Small Sculptures, Big Ideas: Terracotta Statuettes and Theories of the Earth in Eighteenth-Century Paris”
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Conversations across the Arts: Adaptations
Friday, 11:30–1:00, Key 12
Chair: Daniella BERMAN, Institute of Fine Arts, NYU and Ashley BENDER, Texas Women’s University
1. Bethany E. QUALLS, University of California, Davis, “Sally Salisbury’s Eighteenth- Century Transmedia Adaptations and the Creation of B-List Celebrity”
2. Hamish WOOD, University of Sydney, “Adaptation, Epistolarity, and Staging the Letter: Jane Austen’s ‘Sir Charles Grandison or the happy man. A comedy’ (c.1800)”
3. Kathryn DESPLANQUE, University of North Carolina – Chapel Hill, “Why Have There Been No Great Women Starving Artists? The Presence and Absence of Women in Parisian Art-World Satire in the Long Eighteenth Century”
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Clothing and Empire: Dress and Power
Friday, 11:30–1:00, Douglass
Chair: Kristin, O’ROURKE, Dartmouth College
1. Marina KLIGER, Metropolitan Museum of Art, “A Turk at the Paris Salon: The Ambiguities of Dress and Cosmopolitanism in Jean-Baptiste Isabey’s Le Grand escalier du musée (1817)”
2. Jacqueline DELISLE, independent researcher, “The Straight-Edge Razor as a Tool of Masculine Self-Fashioning”
3. Nancy KARRELS, University of Illinois Urbana-Champaign, “Fashionable Loot: Female Influencers in Revolutionary France’s Cultural Heritage Debates”
4. Christine ADAMS, St. Mary’s College of Maryland, “Fashion and Politics: Élégantes and Merveilleuses under the Directory and Beyond”
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Lunches, Excursions, and Late-Breaking Special Sessions
Friday, 1:00–3:15
Use this time to explore Baltimore’s eighteenth-century history, connect with colleagues, or just take a breather amid our busy agenda!
Excursions: Except when noted, these are suggestions for members to organize on their own.
• Guide to Indigenous Baltimore (self-guided walking tour created by American University faculty member, Elizabeth Rule)
• Baltimore African American Heritage Walking Tour (self-guided walking tour)
• Baltimore Black History Tour (guided walking tour run by Black-owned business, I Love Baltimore Personal Tours)
• Reginald F. Lewis Museum of Maryland African American History & Culture
• Not exactly an excursion: but this an interesting digital resource: Visualizing Early Baltimore (batch of digital resources at UMBC, including BEARINGS of Baltimore, ca. 1815, an interactive 3D map that allows overlay of contemporary onto 1815 Baltimore)
• Walters Art Museum Guided Tour (capacity limited to 30; already full). On this two-stop private tour for ASECS members at the Walters Art Museum, Joaneath Spicer, the James A. Murnaghan Curator of European Renaissance and Baroque Art, will talk about two subjects for which she is well known: first, the presence and representation of Africans in Europe, specifically the museum’s newly acquired portrait of an African prince at the court of Louis XIV; and second, the Chamber of Wonders and its shifting character from the early 1600s to the 1700s.
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Flames of Freedom Showcase
Friday, 2:00–3:15, Key 12
Emily Friedman, Emily Kugler, and Sören Hammerschmidt will offer a brief introduction to Flames of Freedom, a table-top role-playing game that blends historical setting and folk horror genres with a deep commitment to diversity and equity in gaming, game design, and the broader community—followed by a hands-on showcase of the game’s approach to race, ethnicity, class, gender, disability, and other consideration in the character generation process. Those interested in playing the game can sign up for sessions on Thursday and Friday night, at http://aub.ie/asecs22games.
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Baltimore Museum of Art, HECAA Visit
Friday, 3:30–6:00
HECAA member Brittany Luberda, Assistant Curator of Decorative Arts at the Baltimore Museum of Art, has been kind enough to organize a HECAA-only tour of the museum’s eighteenth-century collections on Friday afternoon. Virginia Anderson, Curator of American Art, will be leading a tour of the early American galleries, and Brittany herself will offer a walk-through of the eighteenth-century European galleries. The tours are followed by an informal social hour at the museum bar starting at 5:00. Space is limited, so advanced registration for this event is required (see the HECAA email for details).
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ASECS Business Meeting / Presentation of ASECS Awards
Friday, 3:15–5:00, Key 7 & 8
Rebecca MESSBARGER, ASECS President, Mark BOONSHOFT, ASECS Executive Director, Joseph BARTOLOMEO, ASECS Treasurer
ASECS Presidential Address
Friday, 3:15–5:00, Key 7 & 8
Rebecca MESSBARGER Washington University in St. Louis, “Demystifying the Corpse in Italy’s Age of Reform”
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Eighteenth-Century Game Night
Friday, 7:00–midnight, Key 12
An open house to explore games inspired by the eighteenth century. For more information or to sign up for games, see http://aub.ie/asecs22games. Game Night also will be held on Thursday.
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S A T U R D A Y , 2 A P R I L 2 0 2 2
Transplanted Lives and Foreign Presence: Seeing Migration
Saturday, 9:45–11:15, Key 5
Chair: Marina KLIGER, Metropolitan Museum of Art, and Thea GOLDRING, Harvard University
1. Harvey Guy SHEPHERD, The Courtauld Institute of Art, “Alpine Identity in Transit: The Visual Culture of Savoyard Migrants in Eighteenth-Century Paris”
2. Oliver WUNSCH, Boston College, “The Limits of Visual Sensitivity: Sympathy, Sensibility, and Jean-Baptiste Perronneau’s Portrait of Mapondé”
3. Daniel O’QUINN, University of Guelph, “Between Superlunary and Sublunary Worlds: Muslims in the Metropolis of London”
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Trying to Earn Some Dosh: Chasing Economic and Professional Success in the in the Atlantic World
Saturday, 9:45–11:15, Key 10
Chair: Heather ZUBER, Queens College, CUNY and Amanda SPRINGS, Maritime College, SUNY
1. Christine WALKER, Yale-NUS College “‘I will not leave my affairs in any other hand:’ Women’s Trans-Atlantic Crossings and Caribbean Interests”
2. Heidi STROBEL, University of North Texas, “Mary Linwood’s Balancing Act”
3. Sonja LAWRENSON, Manchester Metropolitan University, “‘A World of New Wonders Shall Open on You’: Maria Edgeworth and Transatlantic Exchange”
4. Sarah CARTER, McGill University, “Artists, Antiquaries, and the Cosmopolitan Career of John Brown”
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The 38th James L. Clifford Memorial Lecture
Jennifer L. MORGAN, New York University, “On Race and Reinscription: Writing Enslaved Women into the Early Modern Archive”
Saturday, 11:30–12:30, Key 7 & 8
In this talk, Jennifer Morgan uses the history of three Black women from the sixteenth and seventeenth century to explore questions of methodology and evidence in the early history of the Black Atlantic. Through evidence from visual art, law, and commerce Morgan considers the challenges and possibilities of crafting a social historical study of women whose voices are so often absent from the archival record but whose lives and perspectives have proven to be essential for comprehending the origins of racial capitalism.
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Arts of the Table in Global Perspective
Saturday, 2:00–3:30, Key 9
Chair: Sarah R. COHEN, SUNY University at Albany
1. Ralph HOYLE, Independent Scholar, “The English Tea as Global Consumption”
2. Alicia CATICHA, Northwestern University, “Material Masquerade: Sugar and Marble on the Eighteenth-Century Dining Table”
3. Jacob MYERS, University of Pennsylvania, “The Cane-Rat, Delicacy, and Archival Stickiness on British Jamaica”
4. Susan B. EGENOLF, Texas A&M University, “Soup Tureens and Global Politics: Josiah Wedgwood’s Green Frog Service”
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Materializing Time and Temporality
Saturday, 2:00–3:30, Brent
Chair: Helena YOO ROTH, CUNY
1. Alexandra MACDONALD, William & Mary, “No Time to Dye: Gendered Labour in Eighteenth-Century Craft”
2. Craig HANSON, Calvin University, “The History and Present State of Before and After, The Origins of a Visual Convention”
3. Daniella BERMAN, NYU, “Uncertainty and Time: The Problem of Representing the French Revolution”
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Geographical Frontiers
Saturday, 2:00–3:30, Paca
Chair: Matthew GIN, Northeastern University
1. Zoe BEENSTOCK, University of Haifa, “Shifting Sands: Thomas Pownall’s Colonial Antiquarianism”
2. Laura GOLOBISH, University of New Mexico, “Piss, Poison, Potions, and other Paths from Scotland to England in London Caricature after 1745”
3. Emily CASEY, Independent Scholar, “Hydrographic Frontiers: Imagining Land and Sea in the Early Nation”
4. Nika ELDER, American University, “John Singleton Copley’s Watson and the Shark and the Whitewashing of History”
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Who Run(s) the World? Girl Culture in the Long Eighteenth Century
Saturday, 3:45–5:15, Key 9
Chair: Maura GLEESON, Valencia College, and Lauren WALTER, University of Florida
1. Nicole M. STAHL, West Virginia University, “The Girl in the Book: Anna Seward and Her Literary Forefathers”
2. Fiona BRIDEOAKE, American University, “Girls Narrating Girlhood in The Governess: or, The Little Female Academy”
3. Amanda STRASIK, Eastern Kentucky University, “Painting Paradoxes: Jeanne-Elisabeth Chaudet’s Little Girl Teaching her Dog to Read”
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Portraiture in the Americas
Saturday, 3:45–5:15, Armistead
Chair: Emily THAMES, Florida State University
1. Emily ENGEL, Independent Scholar, “Manifesting Visual Battlefields in Late Viceregal South America”
2. Kristi PETERSON, Skidmore College, “Material Ecologies: Silver, Women, and the Body Politic in Spanish American Portraiture”
3. Emily GERHOLD, High Point University, “A Portrait of the Artist as a Pair of Breasts: (Re)Considering Sarah Goodridge’s Self Portrait (1828)”
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HECAA Reception
Saturday, 5:00–7:00, Paca
A cash bar with conviviality; bring your friends!
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Note (added 25 March) — The original posting did not include the HECAA-organized tours at the Baltimore museum or the HECAA reception.
Online Talk | Chinoiserie in the Reign of Elisabeth Petrovna
Chinoiserie Figures, Imperial Porcelain Factory, 1752–60
(Jordanville, New York: Russian History Museum)
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Sponsored by the museum:
Ekaterina Heath | Art in Chinese Style during the Reign of Elisabeth Petrovna
Online, Russian History Museum, Jordanville, New York, 9 April 2022, 1.00pm (EDT)
Empress Elisabeth Petrovna (1709–1762), second-eldest daughter of Peter the Great, was an unexpected ruler whose place on the throne was under constant threat. As a young child, she experienced the intrigue and mystery of the Chinese embassy’s visit to Empress Anna Ioannovna. This visit had a lasting effect. The fact that the Chinese desired a relationship with a European country was unique in international relations at the time; yet Russian Empire’s attitude towards China remained ambiguous throughout Elisabeth’s reign. The Empress oscillated between critiquing China and seeking good relations with the Chinese Emperor.
The malleability of art in Chinese style (chinoiserie) allowed to use it to reflect the changing meanings of the East. At the same time, Russian chinoiserie often reveals more about Russian court culture and politics than it does about Russia’s complex relationship with China. Chinoiserie’s multiple meanings also served Elizabeth Petrovna to challenge the norms of her gender to support her legitimacy to rule. Neither Chinese nor European, chinoiserie allowed the Imperial court to define and promote the values and interests of the empress and the Russian state. Join us as we explore this unique combination of diplomacy through decorative arts.
This virtual lecture will be presented live via Zoom. Registered users will be emailed a link to join. If you’re unable to watch the live stream, please fill out this form and we will send you a link to the recording.
Dr. Ekaterina Heath is a Research Associate at the University of Sydney. She has published essays on Russian eighteenth-century art and gardens. Her recent articles include “Grand Tour Memories In Maria Feodorovna’s Pavlovsk Park, St Petersburg, 1782–1825” (with Emma Gleadhill), “Giving Women History: A History of Ekaterina Dashkova through Her Gifts to Catherine the Great and Others,” and “Sowing the Seeds for Strong Relations: Seeds and Plants as Diplomatic Gifts for the Russian Empress Maria Fedorovna.” She is finishing a book on Empress Maria Fedorovna’s use of Pavlovsk Park to influence Russian politics. This online talk is based on a chapter that Ekaterina Heath wrote with Professor Jennifer Milam, to be published shortly in the volume Russian Orientalism in a Global Context (edited by Maria Taroutina and Allison Leigh).
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Opened in 1984, the Russian History Museum in Jordanville, New York, 60 miles east of Syracuse, “promotes the understanding and appreciation of the rich history and culture of Russia and the Russian diaspora.” The museum’s history is closely associated with the Holy Trinity Monastery, founded in 1930. The monastery became “an important spiritual and cultural center for the Russian diaspora, [and] emigres from the former Russian Empire, displaced by revolution, civil war, and World War II, began to view the monastery as a trusted repository for the treasured artifacts and documents they brought with them from their homeland or had painstakingly collected abroad” (from the museum’s website). Responding to the Russian invasion of Ukraine, the museum’s ‘plea for peace’ is available here.
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