New Book | Indian Botanical Art

Posted in books by Editor on May 31, 2022

Distributed by ACC Art Books:

Martyn Rix, Indian Botanical Art: An Illustrated History (New Delhi: Roli Books, 2022), 224 pages, ISBN: 978-8195256655, $35.

This book brings together striking botanical art of Indian origin spanning a period of 300 years, focussing on the 18th and 19th centuries. Drawn mostly from original works held in the collections of the Royal Botanic Gardens, Kew, some of the paintings have never been published before. They showcase the richness and variety of art commissioned from talented, mostly unknown, Indian artists who made a substantial contribution to the documentation of the flora of the Indian subcontinent. A foreword written by Sita Reddy places the collections in contemporary context. The book concludes with works from a new generation of botanical artists in India, who excite interest today.

Martyn Rix is a renowned horticulturalist, author of many books, and editor of Curtis’s Botanical Magazine. He is the recipient of the Veitch Memorial Medal from the Royal Horticultural Society for services to horticulture, and a Tercentenary Bronze Medal from the Linnean Society.

Exhibition | Indian Textiles: 1,000 Years of Art and Design

Posted in books, catalogues by Editor on May 31, 2022

Fragment of chintz, coastal southeast India, 1700–30, made for a Dutch market but found in Japan (Washington, DC: The George Washington University Museum and the Textile Museum, T-2864; Bruce M. White Photography). 

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Closing this week at The Textile Museum at The George Washington University (with videos of past programming and the catalogue still available) . . .

Indian Textiles: 1,000 Years of Art and Design
The Textile Museum, The George Washington University, Washington DC, 22 January — 4 June 2022

Vibrant textiles have long been synonymous with Indian culture. Their distinctive abstract, floral, and figurative patterns have inspired countless variations. Featuring masterworks from The Textile Museum Collection and the private collection of Karun Thakar, this major exhibition and accompanying publication showcase court weavings, folk embroideries, and other fabrics from the eighth through the early 20th centuries.

The Indian subcontinent is home to some of the world’s most ancient and illustrious textile traditions. Over the centuries, Indian textile artists have developed an enduring design vocabulary—from simply woven stripes to floral motifs to complex narrative scenes. Indian Textiles: 1,000 Years of Art and Design presents a stunning array of fabrics patterned with India’s most distinctive designs: abstract, floral, and figurative.

Some of the region’s oldest known textiles feature abstract patterns such as circles, stripes, and zigzags. Examples in the exhibition range from a fragment of a block-printed cloth traded to Egypt around the 15th century to intricately embroidered dresses made in present-day Pakistan’s Swat Valley in the 1800s and 1900s.

Floral patterns in Indian textiles became increasingly widespread in the 13th century, and artists excelled in adapting them for global markets. Embroidered caps from Bengal, for example, were fashionable ‘at home’ wear in 18th-century Europe; a man would often don one in the evening after removing his wig.

Figurative patterns provide a window into different religious beliefs across South Asia. A 15th-century narrative cloth from Gujarat depicts deities and other figures central to the Jain religion. A shrine cloth from Uttar Pradesh honors Sayyid Salar Mas’ud, a Muslim warrior-saint venerated by Muslims and Hindus alike.

The exhibition is accompanied by a gallery guide and a catalogue.

Karun Thakar, Rosemary Crill, Steven Cohen, Avalon Fotheringham, and Sylvia Houghteling, Indian Textiles: 1,000 Years of Art and Design (London: Hali Publications, 2021), 391 pages, ISBN: ‎978-1898113966, $80.

Installation view of Indian Textiles: 1,000 Years of Art and Design at the George Washington University Museum and the Textile Museum, featuring on the back wall (center, top) a ceremonial cloth crafted in India for Indonesian buyers; late 18th or 19th century, Karun Thakar Collection (Dave Scavone/The George Washington University Museum and the Textile Museum).

Online | Hogarth’s Topographies: Decolonizing Sámi Representations

Posted in lectures (to attend), online learning by Editor on May 30, 2022

This Thursday, from The Lewis Walpole, Yale Library:

Joar Nango and Mathias Danbolt | Decolonizing Sámi Representations and the Legacy of Colonial Topographies
William Hogarth’s Topographies: A Series of Conversations
Online, The Lewis Walpole Library, 2 June 2022, noon EST

Topography is central to William Hogarth’s canonical progress series in which London settings play a decisive narrative role. Lesser-known works by the artist, however, also engage with topographical representation. Pierre Von-Ow’s online exhibition William Hogarth’s Topographies considers the artist’s illustrations of national and colonized geographies beyond the metropole. Among international topographical views are Hogarth’s illustrations of Sápmi in the Scandinavian north, referred to at the time as “Lapland.” Artist Joar Nango and art historian Mathias Danbolt will discuss the legacy of historical representations of the Sámi, and their reworking of colonial archives in the service of Indigenous Sámi self-determination. This is an online event, and registration is required.

Joar Nango (born 1979 in Alta, Norway) is a Sámi architect and indigenous artist, living in Norway. Nango’s work investigates the nomadic conception of space, territories, and ideas of the concept of home. He focuses on different ways of dealing with materiality, movement, and space. He has exhibited internationally both separately as an individual artist including at Documenta14 (2017), Chicago Architecture Biennial (2019), Institute for Modern art (Brisbane, 2019), National Museum of Canada (2019), Bergen Kunsthall (2021), and National Museum of Norway (2022). He is also involved in collective projects. In 2010 he established the architecture collective FFB which makes an architecture celebrating the failure of capitalism. Since 2020, he has been involved as a host and director of the ongoing TV production PCA-TV (Post-Capitalist Architecture TV) in which the 6th episode features a commissioned work for Toronto Biennial of Art in May 2022.

Mathias Danbolt is a Norwegian art historian who has a special focus on queer, feminist, and decolonial perspectives on art and visual culture. Danbolt is currently leading three collective research projects: “The Art of Nordic Colonialism: Writing Transcultural Art Histories” (2019–23), “Okta: Art and Social Communities in Sápmi” (2019–22), and “Moving Monuments: The Afterlife of Sculpture from the Danish Colonial Era” (2022–25). In 2017 Danbolt curated the visual culture exhibition Blind Spots: Images of the Danish West Indies Colony (2017–18), with Mette Kia Krabbe Meyer and Sarah Giersing at the Royal Danish Library. Danbolt is professor of art history at University of Copenhagen.

This program is organized by The Lewis Walpole Library in conjunction with the online exhibition William Hogarth’s Topographies, curated by Pierre Von-Ow, PhD candidate in Yale’s Department of The History of Art.

Online Exhibition | William Hogarth’s Topographies

Posted in exhibitions by Editor on May 30, 2022

Portrait of William Hogarth from a detail of the trade card of John Smith, printseller, at Hogarth’s Head, ca. 1760
(Lewis Walpole Library, Yale University, 749.00.00.02, Box 105)

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From The Lewis Walpole Library:

William Hogarth’s Topographies
Online, The Lewis Walpole Library, open from 17 May 2022

Curated by Pierre Von-Ow, with Cynthia Roman and Susan Walker

This online exhibition explores William Hogarth’s engagement with topography, an important, if lesser-known aspect of his art. Topography is understood for this project in the broad definition provided in Dr. Johnson’s Dictionary of the English Language (1755): “Description of particular places.” First, a series of engraved illustrations that the artist produced in his mid-twenties for the Travels of the French explorer Aubry de La Motraye (1723) offers an opportunity to study his methods to represent territories he only visited through textual descriptions. Then the Five Days Peregrination (1732), an impromptu trip to Kent on which Hogarth embarked with four fellows to satirize the tradition of the Grand Tour as well as the practice of antiquarians in Britain, demonstrates his irreverential relationship with historical traces of the country’s past. Finally, Hogarth’s engraved frontispiece for Joshua Kirby’s influential treatise on perspective is read in the light of the longer tradition of perspective studies in Britain and contemporary debates about the respective roles of the eye and of mathematical rules in the representation of space.

Drawing primarily from the extensive collections of Hogarth’s graphic work at the Lewis Walpole Library and other Yale collections, Hogarth’s Topographies seeks to contribute to recent historiographic efforts that re-read Hogarth’s work in a more international perspective, most notably the Hogarth and Europe retrospective at Tate Britain (November 2022 — March 2023), which stresses the necessity of approaching the artist’s work in the light of a broader European and global context that resonates in his production.

Exhibition | Luis Paret (1746–1799)

Posted in books, catalogues, exhibitions by Editor on May 29, 2022

Luis Paret y Alcázar, The Shop of Geniani, 1772, oil on panel, 49 × 57 cm
(Madrid: Museo Lázaro Galdiano)

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Now on view at the Prado:

Museo Nacional del Prado, Madrid, 24 May — 21 August 2022

Curated by Gudrun Maurer

In the words of Javier Solana, President of the Royal Board of Trustees of the Museo Nacional del Prado: “Luis Paret is possibly the 18th-century Spanish artist who most deserved a major exhibition of the type now opening at the Museo del Prado.” With the invaluable collaboration of private and public lenders and the support of Fundación AXA, the Prado has thus reunited most of the artist’s known paintings. They include Masquerade, The Puerta del Sol, Paret’s Daughters, View of Bermeo, and The Annunciation to Zacharias, in addition to a remarkable group of drawings such as Hannibal at the Temple of Hercules in Cadiz and The Oath of Allegiance to don Fernando as Prince of Asturias, which together allow for an appreciation of the richness and variety of a painter alert to the changes of his day and one characterised by a remarkable originality and versatility.

In this first monographic exhibition on Paret organised by the Prado, Gudrun Maurer, the museum’s Curator of 18th-century Painting and Goya and the curator of the exhibition, has surveyed Paret’s professional career with the aim of singling out the excellent technical level and striking originality with which the artist depicted his chosen subjects while also presenting the new information on Paret’s working method obtained from the scientific analysis of his paintings undertaken by the Museum’s technical department.

The exhibition offers a complete survey of Paret’s career and is divided into nine sections. The first provides a unique opportunity to compare a key drawing from his early period with the first documented painting by his celebrated fellow-Spaniard Francisco de Goya, who, like Paret, was born in 1746. The two artists started their careers (Paret in fact five years before Goya) after being singled out in competitions organised by different Fine Arts Academies: Paret by the Academia de San Francisco in Madrid and Goya by the one in Parma, Italy. Those two works which brought the artists recognition—both, in fact on the subject of Hannibal—are now on display in the exhibition, one loaned from the Academia de San Fernando and the other in the Prado’s collection. In general, the two paintings reveal the importance of both academic competitions and the period of training in Italy for artists’ careers. The comparison with Goya also emphasises Paret’s notable technical and compositional skills at this early date while the marked artistic personalities of the two artists are evident in the different styles of their works.

Luis Paret y Alcázar, Masquerade, detail, ca. 1767, oil on panel
(Madrid, Museo Nacional del Prado)

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The next section starts with a small group of early drawings by Paret from the collection of the Prado and the Biblioteca Nacional de España. They reveal the artist’s originality in his inventive and versatile approach to the subjects and the modernity of his choices. Subjects include The Necromancer, The Glory of Anacreon, and Roman Military Trophy. The principal work in this room is one of Paret’s earliest known paintings, Masquerade of 1767 from the Prado’s collection. It once again reveals Paret’s modernity in the context of his time, as an artist who from the outset was able to respond to the new demand for images of society in the public and private space and which reflected the varied fashions and customs of the different social classes. Displayed here are other small-format cabinet paintings on innovative subjects in the context of Spanish art of this period, such as Scene of a Boudoir (previously Play Rehearsal) from the Prado; The Letter from the Musée Goya in Castres; Geniani’s Shop from the Museo Lázaro Galdiano; and The Puerta del Sol from the Museo Nacional de Bellas Artes de Cuba. In addition, paintings on rarely depicted episodes from life at the Spanish court, such as The Royal Couples and Charles III dining before the Court (both in the Prado), offer a panoramic view of different facets of contemporary society and also demonstrate the success Paret enjoyed between 1766 and 1775, the year he was exiled.

Luis Paret y Alcázar, Zebra, 1774, Black pencil, gouache brush and opaque pigment gouache (Madrid: Museo Nacional del Prado).

The third section presents one of the artist’s exquisite coloured drawings of birds alongside Zebra from the Prado’s collection and a private collection respectively, works executed by Paret for the Natural History Cabinet of the Infante don Luis, Charles III’s brother, who appointed Paret his painter in 1774. They reveal the artist’s ability to combine an almost scientific depiction of his subjects with landscape settings of great subtlety and refined beauty.

The fourth section focuses on Paret’s few known portraits, which are notable for their exquisite technique and personal, intimate nature. They also mark the transition between the artist’s Madrid phase and his years in Bilbao. The four known Self-portraits of around 1770–75 to 1780 reflect the painter’s powerful, self-confident personality but also his different states of mind. This is evident during his exile in Puerto Rico when he portrayed himself not just as a jíbaro or local peasant in 1776 but also in the melancholy Self-portrait in the Studio of 1777 which Paret sent to a trusted individual in Madrid, as the inscription detected by the recent X-radiograph reveals. Shown alongside these works are other portraits such as those of the artist’s wife and their daughters, compositions enhanced by complex floral ornamentation; a portrait of a typical Enlightenment gentleman (on loan from the Real Academia de Bellas Artes de San Fernando); and that of Antonio Sancha from the Biblioteca Nacional de España. Finally, there are compositions on the theme of motherhood, such as the small painting of The Virgin and Child from the Abelló Collection, The Orange Seller from Patrimonio Nacional, and the two floral bouquets from the Prado. Flowers were an enormously important motif in Paret’s work and one that reveals the virtuosity characteristic of all the paintings in this section.

The fifth section opens with a painting of The Circumspection of Diogenes which Paret sent from Bilbao in 1780 to the Real Academia de Bellas Artes de San Fernando and which led to his nomination as an Academician of Merit. His subsequent enhanced reputation is evident in the large-format religious compositions that he executed in Bilbao, such as The Invention of the True Cross painted for the Gortázar family and their family chapel (private collection) and The Martyrdom of Saint Lucy for the parish church of Santa María in Larrabezúa (now in the Museo Diocesano de Arte Sacro in Bilbao). These exceptionally exquisite paintings of great technical and compositional delicacy demonstrate Paret’s importance in the context of 18th-century Spanish art. Their presence in the exhibition makes it possible to appreciate his mastery in devising subjects that were unusual in the context of the day and his ability to create scenes of a monumental nature with extremely dynamic figures. Furthermore, they reveal the artist’s extensive knowledge of classical sculpture and the work of the Old Masters such as Rubens, as well as his exceptional manner of combining grandiose, classical beauty with lighter Rococo resources such as a markedly pastel palette. The juxtaposition of these works with small-format paintings and drawings on religious subjects—including The Apparition of Saint Michael to Charles VIII of France and Saint Francis of Paula (private collection), a unique subject in Spanish art—and with a number of his designs for religious monuments in Bilbao further reveals Paret’s multifaceted nature in this pictorial genre.

Luis Paret y Alcázar, Self-portrait Attired in Blue, ca. 1780, oil on paper affixed to canvas (Colección Abelló).

The next section is devoted to paintings and drawings on bucolic subjects and classical, erotic ones produced for private clients. These reveal Paret’s enormously original powers of invention, including The Triumph of Love over War from the Museo de Bellas Artes de Bilbao and the drawings of The Eclogue from the Prado, which are shown together with paintings on similar subjects from real life, albeit with a certain critical element, such as Gallant Scene of High Society and Gallant Scene of Low Life (private collection), Saying the Rosary from Patrimonio Nacional and the drawing of The Procuress and the Lovers from the Prado. The small painting of Young Woman asleep in a Hammock from the Prado establishes a connection between the two worlds through references to classical sculpture and modern society, the latter including the exoticism of the Caribbean.

The seventh section features eight of the nine currently known views of the Basque Country painted by Paret, executed for the Prince of Asturias, for private clients and as commissions for Charles III. These are now divided between museums in Spain, France, and the UK. The group constitutes a striking survey of landscape and also of the variety of society of the day, its different working and leisure activities and the region’s ports and coastline. These notably complex paintings in both technical and compositional terms are among Paret’s most important creations from his time in Bilbao. Also on display are the two fine drawings of ports in the Basque country, loaned from private collections, which reveal the artist’s masterly ability in the use of different media, such as black chalk, pen, and brush, which he employed to capture the characteristics of these landscapes and the brilliant effects of light observed in nature.

The eighth section focuses on two oils on canvas executed by the artist for the chapel of San Juan del Ramo in the church of Santa María de la Asunción in Viana: The Annunciation to Zacharias and The Visitation of the Virgin to Saint Elizabeth. In these striking paintings, which are among the last produced by Paret during his Bilbao period, the remarkable quality and technical and compositional complexity achieved by the artist reaches its peak. Furthermore, they reveal the original way in which he made use of models to add liveliness and expressivity to his figures and scenes, as well as the excellent technique that he employed to describe all the details in his works with enormous naturalness and variety. Also evident is the way in which Paret applied a modern, art historian’s eye to make use of the Baroque and Neo-classical styles in order to emphasise the era of the scenes depicted. Finally, this section includes a group of excellent preparatory drawings for one of these paintings (private collection) and for the mural decoration of this chapel (Museo del Prado).

Luis Paret y Alcázar, The Oath of Allegiance to Ferdinand VII as Prince of Asturias, 1791, oil on canvas, 237 × 159 cm (Madrid: Museo Nacional del Prado).

Following his return to Madrid in 1789, in 1792 Paret was appointed Vice-secretary of the Academia de San Fernando and Secretary to its Architectural Committee, receiving few commissions for paintings but producing numerous drawings of beautiful scenes and figures for book illustrations and other projects. The paintings from the end of the artist’s career are displayed in this ninth section of the exhibition. They include three allegories of one of the provinces of Spain, works of enormous classical beauty which are the only ones now known from a series of ten paintings executed in 1789 for the headquarters of the Five Major Guilds in Madrid (private collection and Museo del Prado). The one in the Prado was only rediscovered five years ago and was acquired for the Museum. Finally, visitors will be able to appreciate an example of Paret’s creative process through the painting of The Oath of Allegiance to don Fernando as Prince of Asturias, its remarkable preparatory drawing in the Louvre, two preliminary drawings of details for that work (Biblioteca Nacional), and an infrared reflectograph that reveals an excellent underdrawing. Other equally important examples are shown in a video.

The exhibition closes with an unfinished painting of The Botanical Garden from the Paseo del Prado. It depicts the entrance to the garden, located close to the Museo del Prado.

This extremely comprehensive survey of Paret’s career furthers an analysis of his approach and techniques while promoting his recognition as the most important Spanish artist of the 18th century alongside Goya.

The exhibition is accompanied by a catalogue by the curator  Gudrun Maruer with texts written by her, by other specialists, and by the technical staff of the Museo del Prado and the Museo de Bellas Artes de Bilbao.

Gudrun Maurer, ed., Paret (Madrid: Prado, 2022), 288 pages, €28.

Exhibition | New London County Quilts & Bed Covers, 1750–1825

Posted in exhibitions by Editor on May 28, 2022

The exhibition closed earlier this month, but there is an excellent virtual tour still available; from the Florence Griswold Museum:

New London County Quilts & Bed Covers, 1750–1825
Florence Griswold Museum, Old Lyme, CT, 12 February — 1 May 2022

Curated by Lynne Bassett

Attributed to Jerusha Foote Johnson (1755–1831), Colchester, bed rug, 1782, wool (Collection of Rick and Susan Copeland).

The domestic textiles produced in New London County from the mid-18th to early 19th century stand out today as masterpieces of American needle craft. Curated by independent scholar Lynne Z. Bassett, New London County Quilts & Bed Covers, 1750–1825 examines the artistic excellence of these pieces within the context of design inspiration drawn from an array of transatlantic sources and explores the question of how the county fostered such exceptional work.

Quilted petticoats with maritime motifs, bold geometric patterns on bed rugs, sophisticated feathers and fruit stitched on elegant whitework quilts, and patriotic appliqués reveal the range and accomplishment of New London County women. The exhibition unites for the first time examples by these makers, whose names are only sometimes known, but whose textiles survive as evidence of the network of connections between teachers, students, and family members.

Online Lecture | Boettger’s Invention of Red Jasper Porcelain

Posted in lectures (to attend), online learning by Editor on May 27, 2022

From The French Porcelain Society:

Angela Wallwitz | Ars Naturalis-Ars Artificialis: Boettger’s Invention of Red Jasper Porcelain in the Wake of the Early Enlightenment
FPS Living Room Lecture, Online, Sunday, 29 May 2022, 18.00 (BST)

Angela Wallwitz draws on her expertise in cataloguing ceramics as an art dealer, combined with her research skills as an independent scholar specialised in Meissen ware. In this lecture, she will delve into the subject of Plaue stoneware. We hope you can join us!

FPS members will receive an email invitation with instructions on how to join the online lecture. Please contact us for more details on FPSenquiries@gmail.com.

To achieve the artificial manufacture of gold, silver, and precious stone was the aim of man to re-create God’s creations since Renaissance times. The invention of Boettger stoneware, red jasper porcelain, and white porcelain played a significant historic role in this context. Ernst Zimmermann was the first to understand this after having spent years of research in the archives in Dresden and Meissen before they suffered losses and destruction during both world wars. However, his publication of 1908, Erfindung und Frühzeit des Meissner Porzellans, with 271 pages of small print and 721 invaluable footnotes, remains a hidden treasure for all non-German speakers. Researching a unique red jasper porcelain garniture of five apothecary vases, Angela Wallwitz discovered Ernst Zimmermann’s fascinating interpretations of the facts and the difference between stoneware made in Dresden from those manufactured in Meissen and the identity of a glassmaker, Boettger engraver and co-founder of the Prussian rival manufactory in Plaue. The garniture, published as an early diplomatic gift, was most probably Boettger’s gift to Augustus the Strong for his famous Royal apothecary in the Residenz of Dresden. This lecture, intends to serve as the guideline to illustrate the role of ceramics as ars naturalis and ars artificialis.


Study Trip | Bavaria: Grandeur in Southern Germany

Posted in graduate students, on site, opportunities by Editor on May 27, 2022

The trip is fully booked, but The Decorative Arts Trust is still accepting applications for one scholarship student:

Bavaria: Grandeur in Southern Germany Study Trip
The Decorative Arts Trust, 7–15 October 2022

Scholarship applications due by 30 June 2022

The Decorative Arts Trust is offering a Helen Scott Reed Study Trip Abroad Scholarship for an emerging professional or a graduate student to attend our Bavaria: Grandeur in Southern Germany Study Trip, 7–15 October 2022. Applicants are encouraged to send a letter of interest, a curriculum vitae (CV), and a reference letter to thetrust@decorativeartstrust.org by 30 June 2022. Preference will be given to applicants whose current research is related to the sites and objects we will experience in southern Germany. Preference will be given to those focusing on the decorative arts, but students, curators, and historians studying architecture, fine art, and landscape are also welcome to apply. See the trip itinerary here.

Conference | The Jesuits and the Arts

Posted in conferences (to attend), online learning by Editor on May 27, 2022


Los jesuitas y las artes: coadjutores, padres, artífices
Online and in-person, Universidad a distancia de Madrid, 2–3 June 2022

Coadjutores: artistas e ideas migrantes en la globalización ibérica estudia las redes de circulación de los artistas de la Compañía de Jesús durante la Edad Moderna, incluyendo tanto a los sacerdotes como a los miembros legos de la Orden o coadjutores. La obra de estos artistas (pintores, escultores y grabadores) y la recepción de las ideas que con ellos se extendieron a través de la docencia, la tratadística y la cultura visual, revela el alcance y complejidad de los movimientos migratorios que protagonizaron y va más allá de la mera difusión desde la Europa católica hasta los dominios hispano-portugueses a orillas del Atlántico, el Índico y el Pacífico. Frente al modelo centro-periferia, el proyecto analiza un amplio número de estudios de caso que permiten evidenciar cómo se llevaron a cabo los procesos de transculturación, negociación y mestizaje que dieron lugar a escuelas artísticas relevantes como las establecidas en Cuzco, Quito, Calera de Tango (Chile), Salvador de Bahía, Beijing, Macao o Nagasaki.

En esta primera actividad del proyecto CoMArtis, consistente en un Seminario Internacional titulado «Los jesuitas y las artes: coadjutores, padres, artífices» se presentan algunos de los rasgos característicos de la producción artística de la Compañía de Jesús. Exploraremos la identidad de los hermanos coadjutores y de los sacerdotes jesuitas dentro de la estructura de la Orden y su consideración, en tanto artífices, a la luz de la prosopografía; presentaremos una primera valoración de su labor como educadores de artistas y científicos y de su agencia en el sistema de las artes europeo y colonial; y avanzaremos su grado de intervención en las dinámicas de elaboración, difusión y consumo de cultura material. Este evento está dirigido a estudiantes universitarios, académicos y público culto interesado en la Compañía de Jesús y en el arte de la Edad Moderna.

J U E V E S ,  2  J U N I O  2 0 2 2

10.00  Presentación

10.15  SESIÓN 1
• Los “coadjutores temporales” de la misión de la Compañía de Jesús, WENCESLAO SOTO ARTUÑEDO, ARSI
• Prosopografía: la construcción del relato sobre los coadjutores dentro y fuera de la Compañía, SARA FUENTES LÁZARO, UDIMA
• I collegi dei Gesuiti e la formazione dei pittori di architettura, FAUZIA FARNETI, Università degli Studi di Firenze

12.15  Pausa

12.45  SESIÓN 2
Modera: ESCARDIEL GONZÁLEZ ESTÉVEZ, Universidad de Sevilla
• Los biombos namban: jesuitas, arte y educación en Japón, ESTHER JIMÉNEZ PABLO, Universidad Complutense de Madrid
Procuradores Generales de las Indias Orientales: Francisco Sarmento (1637–1706) y Francisco da Fonseca (1668–1738). Dos jesuitas al servicio del arte, MARIA JOÃO PEREIRA COUTINHO, Universidad de Nova de Lisboa

14.15  Pausa

16.00  SESIÓN 3
• Sacerdotes y hermanos coadjutores jesuitas en las fronteras ibéricas: agentes de circulación y consumo de productos en Macao y Paraguay (ss. XVII–XVIII), PEDRO OMAR SVRIZ WUCHERER, Universidad de Sevilla
• “Que sea pintor para hacer los retablos de las Iglesias”. Actividad artística de los coadjutores jesuitas en la provincia de Paraguay, CORINNA GRAMATKE, Investigadora Independiente, Düsseldorf

V I E R N E S ,  3  J U N I O  2 0 2 2

9:45  Desayuno de bienvenida para todos los asistentes

10:20  Apertura de la sesión de trabajo a cargo de la Decana de la Facultad de Ciencias Sociales y Humanidades ESTHER PASCUA ECHEGARAY, UDIMA

10.30  SESIÓN 4
• “La devoción en la mirada impulsa el fervor del corazón”: la pintura sagrada en la literatura artística de los jesuitas (ss. XVI–XVII), MACARENA MORALEJO ORTEGA, Universidad Complutense de Madrid
• El resplandor de san Ignacio de Loyola y el simbolismo de la luz en la Compañía de Jesús. De la génesis de su iconografía a los programas visuales en la Roma del siglo XVII, ENEKO ORTEGA MENTXAKA, Universidad del País Vasco / Euskal Herriko Unibertsitatea
• La identidad devocional de raíz italiana en la Compañía: imágenes desde Roma para la globalización ibérica, ESCARDIEL GONZÁLEZ ESTÉVEZ, Universidad de Sevilla

12.30  Presentación de la monografía Arte y localización de un culto global. La Virgen de Loreto en México (Madrid: Abada, 2022), LUISA ELENA ALCALÁ, UAM

13.00  Conclusiones y cierre, JUAN LUIS GONZÁLEZ GARCÍA, UAM

13.30  Almuerzo para todos los asistentes

Exhibition | Fashioning Masculinities: The Art of Menswear

Posted in books, catalogues, exhibitions by Editor on May 26, 2022

Press release for the exhibition now on view at the V&A:

Fashioning Masculinities: The Art of Menswear
Victoria & Albert Museum, London, 19 March — 6 November 2022

Curated by Claire Wilcox and Rosalind McKever

Fashioning Masculinities: The Art of Menswear is the first major V&A exhibition to celebrate the power, artistry, and diversity of masculine attire and appearance. The show traces how menswear has been fashioned and refashioned over the centuries, and how designers, tailors, and artists—together with their clients and sitters—have constructed and performed masculinity, and unpicked it at the seams.

Fashioning Masculinities will present around 100 looks and 100 artworks, displayed thematically across three galleries. Contemporary looks by legendary designers and rising stars will be displayed alongside historical treasures from the V&A’s collections and landmark loans: classical sculptures, Renaissance paintings, iconic photographs, and powerful film and performance. From looks by Harris Reed, Gucci, Grace Wales Bonner and Raf Simons, to paintings by Sofonisba Anguissola and Joshua Reynolds, contemporary artworks by Robert Longo and Omar Victor Diop, to an extract from an all-male dance performance by Matthew Bourne’s New Adventures, the exhibition will showcase the variety of possible masculinities across the centuries from the Renaissance to the global contemporary. Outfits worn by familiar faces will be interspersed throughout, from Harry Styles, Billy Porter and Sam Smith, to David Bowie and Marlene Dietrich. Innovative creations and diverse representations will highlight and celebrate the multiplicities of masculine sartorial self-expression, dressing beyond the binary.

Claire Wilcox and Rosalind McKever, co-curators of Fashioning Masculinities: The Art of Menswear, said: “Masculine fashion is enjoying a period of unprecedented creativity. It has long been a powerful mechanism for encouraging conformity or expressing individuality. Rather than a linear or definitive history, this is a journey across time and gender. The exhibition will bring together historical and contemporary looks with art that reveals how masculinity has been performed. This will be a celebration of the masculine wardrobe, and everyone is invited to join in.”

Fashioning Masculinities opens with a Craig Green SS2021 ensemble of a deconstructed suit, alluding to the construction and deconstruction of both the masculine body and conventions of masculinity, a central theme throughout the show. The three main galleries—’Undressed’, ‘Overdressed’, and ‘Redressed’—follow, with the exhibition design by JA Projects. ‘Undressed’ explores the male body and underwear in a utopian dreamscape, whilst ‘Overdressed’ takes visitors into the elite masculine wardrobe in a sumptuous, immersive space with courtly grandeur, featuring oversized silhouettes, abundant colour, and lavish materials. The third section, ‘Redressed’, explores the construction and dissolution of the suit, with the exhibition design conveying the idea of an urban reawakening.

‘Undressed’ explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries. Plaster casts of the Apollo Belvedere and the Farnese Hermes—which highlight a tradition of depicting idealised male bodies draped in textiles that reveal more than they conceal—are juxtaposed with modern and contemporary representations of the body, from prints and photography by David Hockney, Lionel Wendt, Zanele Muholi, and Isaac Julien, to a Calvin Klein advertisement.

Also on display is a film of Matthew Bourne’s Spitfire (1988) performed by New Adventures dancers, which takes place in the world of men’s underwear advertising and mail order catalogue photography, whilst contemporary ensembles highlight how designers are appropriating sheer fabrics to create ensembles, alluding to a new honesty about menswear. Fashion’s fascination with the body has seen it support changing masculine ideals from evoking classical drapery, to sculpting flesh—as seen in garments by Jean-Paul Gaultier and A- COLD-WALL*—to celebrating body diversity. This is exemplified in the exhibition by excerpts of Arrested Movement by Anthony Patrick Manieri, an inclusive portrait series and awareness initiative celebrating and promoting positive body image. ‘Undressed’ ends with Auguste Rodin’s Age of Bronze sculpture, and Tiresias, a performance by Cassils, in which the artist melts a neoclassical torso carved in ice with their body heat.

Installation view, V&A.

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The second gallery, ‘Overdressed’, explores the elite masculine wardrobe, epitomised by oversized silhouettes, lavish materials like silks and velvet in daring colours, and symbolic patterns to express status, wealth, and individuality. Drawing synergies across the centuries, the section will feature armoured breastplates to silky smoking suits, sweeping capes to ribbons and lace, including Grinling Gibbons’ wooden carving imitating a Venetian needlepoint lace cravat, displayed alongside real lace, and a Dolce & Gabbana cape juxtaposed with a Sofonisba Anguissola painting. The section also includes grooming, with makeup and shaving equipment.

Historically, menswear was full of pattern and colour, and a section on scarlet and pink highlights the return of this masculine colour to popularity. Aristocratic sitters in oil paintings by Joshua Reynolds and Jean-Baptiste Perronneau are displayed alongside pink ensembles by Harris Reed and Grace Wales Bonner among others. Nearby, a custom Randi Rahm ensemble—a suit and full-length embroidered cloak with a hot pink lining—worn by Billy Porter at the Golden Globes in 2019, complement the selection. Internationally traded textiles, imported silks, and floral patterns reflect their wearers relationship to the world. Through the lens of contemporary fashion, from Kim Jones for Fendi and Alessandro Michele for Gucci to Rahemur Rahman, Ahluwalia and Orange Culture, ‘Overdressed’ shows how historic ideas begin to shift, with a full rainbow of masculine outfits on display.

Left: Harris Reed Fluid Romanticism 001 (Courtesy Harris Reed; photo by Giovanni Corabi). Right: Joshua Reynolds, Portrait of Charles Coote, 1st Earl of Bellamont (1738–1800), in Robes of the Order of the Bath, 1773–74 (Dublin: National Gallery of Ireland).

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The third gallery, ‘Redressed’, pieces together the modern masculine uniform of the suit, from Beau Brummell to the contemporary runway. ‘Redressed’ opens with a reflection on English country tailoring and the origins of the suit—with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley—before exploring how military attire influenced civilian dress.

In the twentieth century an abundance of mass-produced suits bred creativity as Mods, Teddy Boys, and all manner of subcultures looked to define their styles through tailoring, explored in the exhibition through garments and photography. A section on leather shows how designers like Tom Ford for Gucci and Donatella Versace took their interest in leather to a new place, whilst a series of frock coats from the mid-nineteenth century to the present day include examples by Prada, Alexander McQueen, and Raf Simons. ‘Redressed’ also includes paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun, and Cecil Beaton to The Beatles and Sam Smith.

Robert Longo’s 1981 drawing from the series Men in the Cities introduces the final part of the section about the dissolving of the suit. A new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear and masculinity.

Claire Wilcox and Rosalind McKever, eds., Fashioning Masculinities: The Art of Menswear (London: V&A Publishing, 2022), 272 pages, ISBN: ‎978-1838510114, $60.

Catalogue cover image: Jean-Baptiste Belley, by Omar Victor Diop, 2014, pigment inkjet print on Harman by Hahnemühle paper (Courtesy MAGNIN-A Gallery, Paris © Omar Victor Diop).
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