Exhibition | A Taste of One’s Own Medicine
Now on view at the Royal College of Physicians:
A Taste of One’s Own Medicine: Medical satire at the Royal College of Physicians
Royal College of Physicians, London, 3 May — 2 December 2022
We see countless satirical images in our everyday lives, from commercial advertisements and newspaper cartoons, to magazine covers and humorous internet memes. Graphic satire has saturated all levels of society since it emerged as a skilled artform in the 17th century. It developed into a thriving industry in the 18th century, becoming a powerful tool for expressing political and social opinions.
A Consultation of Physicians, unknown artist (Royal College of Physicians, photography by John Chase).
The enduring appeal of satirical images encompassed the wealthy and poor alike. Reproduced in their tens, hundreds or even thousands, prints could be bought, viewed in shop windows and later newspapers, and put up in public places such as barber shops, billiard rooms, and brothels. Like many public figures, medical professionals such as doctors, apothecaries, and surgeons were targeted by satirists and caricaturists. These artists used public opinion and personal agendas to ridicule, reprimand and malign their subjects and the work they were involved in.
The Royal College of Physicians (RCP) cares for a unique collection of medical satire prints from the mid-18th century to the 1980s, selected and given by doctors and members over its 500-year history. Like all satire, these prints are closely tied to a particular time and place. They responded to contemporary events and were consumed by audiences who understood the circumstances of their creation. Join us as we explore the diverse social, political, and historical contexts in which our satirical prints were produced and seek to decipher the complex narratives they contain.
satire, n. A work of art which uses humour, irony, exaggeration or ridicule to expose and criticise prevailing immorality or foolishness, especially as a form of social or political commentary.
caricature, n. Grotesque or ludicrous representation of persons or things by exaggeration of their most characteristic and striking features.
lampoon, n. A virulent or scurrilous satire upon an individual.
New Book | Patterns of Plague
From MQUP:
Lori Jones, Patterns of Plague: Changing Ideas about Plague in England and France, 1348–1750 (Montreal: McGill-Queens University Press, 2022), 408 pages, ISBN 978-0228010791 (hardcover), $130 / ISBN: 978-0228010807 (paperback), $40.
An innovative study of plague in medieval and early modern Europe reveals the changing perceptions surrounding epidemic disease over centuries and across national borders.
For centuries, recurrent plague outbreaks took a grim toll on populations across Europe and Asia. While medical interventions and treatments did not change significantly from the fourteenth century to the eighteenth century, understandings of where and how plague originated did. Through an innovative reading of medical advice literature produced in England and France, Patterns of Plague explores these changing perceptions across four centuries. When plague appeared in the Mediterranean region in 1348, physicians believed the epidemic’s timing and spread could be explained logically and the disease could be successfully treated. This confidence resulted in the widespread and long-term circulation of plague tracts, which described the causes and signs of the disease, offered advice for preventing infection, and recommended therapies in a largely consistent style. What, where, and especially who was blamed for plague outbreaks changed considerably, however, as political, religious, economic, intellectual, medical, and even publication circumstances evolved. Patterns of Plague sheds light on what was consistent about plague thinking and what was idiosyncratic to particular places and times, revealing the many factors that influence how people understand and respond to epidemic disease.
Lori Jones is a historian of medieval and early modern medicine at Carleton University and the University of Ottawa.
New Book | Rhetoric, Public Memory, and Campus History
From Clemson University Press in association with Liverpool University Press:
Rhondda Robinson Thomas, ed., Rhetoric, Public Memory, and Campus History (Clemson: Clemson University Press, 2022), 264 pages, ISBN: 978-1638040200, £95 / $130.
This essay collection explores the inextricable link between rhetoric, public memory, and campus history projects. Since the early twentieth century after Brown University appointed its Steering Committee on Slavery and Justice, higher education institutions around the globe have launched initiatives to research, document, and share their connections to slavery and its legacies. Many of these explorations have led to investigations about the rhetorical nature of campus history projects, including the names of buildings, the installation of monuments, the publication of books, the production of resolutions, and the hosting of public programs. The essays in this collection examine the rhetorical nature of a range of initiatives, including the creation of land acknowledgement statements, the memorialization of universities’ historic financial ties to the slave trade, the installation and removal of monuments or historical markers, the development of curriculum for campus history projects. The book takes a chronological approach, beginning with the examination of a project at a university that was built on the site of a historic Native American town, moving through a series of essays about initiatives that grew out of universities’ associations with slavery and its legacies in the United Kingdom and America, and ending with a critique of several pedagological approaches in campus history courses designed for undergraduate students.
Rhondda Robinson Thomas is the Calhoun Lemon Professor of Literature at Clemson University where she teaches and researches early African American Literature. She is author of Call My Name, Clemson: Documenting the Black Experience in an American University Community and Faculty Director of the award-winning Call My Name Project for which she has received grants from the National Endowment for the Humanities. She has published articles and books with Cambridge University Press and Oxford University Press as well as in African American Review and American Literary History. She is also the research and community engagement coordinator for the Clemson’s Woodland Cemetery Project.
C O N T E N T S
Rhondda Robinson Thomas — Introduction: The Inextricable Link between Rhetoric and Remembrance in Campus History Projects
1 Andrew Denson — ‘Always Cherokee Land’: Campus History and Indigenous Placemaking in Western North Carolina
2 Stephen Mullen — Acknowledging the Legacies of Enslavement in British Universities: Slavery, Abolition, and the University of Glasgow
3 Christopher P. Lehman — Acknowledging Slavery’s Ties to Minnesota’s Public Universities through Historical Markers
4 Monet Lewis-Timmons — Beyond Kitty’s Cottage: The Double-Containment of Catherine ‘Miss Kitty’ Boyd and Black Commemoration Practices in Oxford, Georgia
5 Cecelia Moore — Reckoning with Silent Sam: The Confederate Monument at the University of North Carolina at Chapel Hill
6 Charles F. Irons — White Memory and White Violence at Elon University
7 Prithi Kanakamedala — ‘We Must Stand United’: Re-telling a Radical History of Bronx Community College at the City University of New York
8 Charissa Fryberger — Looking Racism in the Face at Clemson University
New Book | The Alchemy of Slavery: Human Bondage and Emancipation
First published in 2018 and now available in paperback from Penn Press:
M. Scott Heerman, The Alchemy of Slavery: Human Bondage and Emancipation in the Illinois Country, 1730–1865 (Philadelphia: University of Pennsylvania Press, 2022), 248 pages, ISBN: 978-0812225174 (paperback), $25.
In this sweeping saga that spans empires, peoples, and nations, M. Scott Heerman chronicles the long history of slavery in the heart of the continent and traces its many iterations through law and social practice. Arguing that slavery had no fixed institutional form, Heerman traces practices of slavery through indigenous, French, and finally U.S. systems of captivity, inheritable slavery, lifelong indentureship, and the kidnapping of free people. By connecting the history of indigenous bondage to that of slavery and emancipation in the Atlantic world, Heerman shows how French, Spanish, and Native North American practices shaped the history of slavery in the United States.
The Alchemy of Slavery foregrounds the diverse and adaptable slaving practices that masters deployed to build a slave economy in the Upper Mississippi River Valley, attempting to outmaneuver their antislavery opponents. In time, a formidable cast of lawyers and antislavery activists set their sights on ending slavery in Illinois. Abraham Lincoln, Lyman Trumbull, Richard Yates, and many other future leaders of the Republican party partnered with African Americans to wage an extended campaign against slavery in the region. Across a century and a half, slavery’s nearly perpetual reinvention takes center stage: masters turning Indian captives into slaves, slaves into servants, former slaves into kidnapping victims; and enslaved people turning themselves into free men and women.
M. Scott Heerman is Associate Professor of History at the University of Miami.
C O N T E N T S
Introduction: Slavery and Freedom on the American Continent
1 Making the French Negroes
2 Another Law and Empire
3 Remaking the French Negroes
4 Contesting Bondage in the Slave North
5 Paths to Independence
6 Freedom Practices, Freedom Politics
Conclusion: North of Slavery, South of Freedom
Notes
Bibliography
Index
Acknowledgments
Exhibition | The Clamor of Ornament
Wolfgang Hieronymus Von Bömmel, Lion and Hare Composed of Ornamental Leaf-Work, from Neueersonnene Gold-Schmieds Grillen (New Designs for Ornaments in Gold), 1698, engraving on off-white laid paper, 12.7 × 20 cm (Cooper Hewitt, Smithsonian Design Museum, Smithsonian Institution, museum purchase through gift of the Estate of David Wolfe Bishop).
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From the press release for the exhibition:
The Clamor of Ornament: Exchange, Power, and Joy from the Fifteenth Century to the Present
The Drawing Center, New York, 15 June — 18 September 2022
Organized by Emily King, with Margaret Anne Logan and Duncan Tomlin
Bringing together more than 200 objects from across the globe, The Clamor of Ornament explores ornament in architecture, art, and design through the lens of drawing. Spanning all three of The Drawing Center’s galleries, the exhibition features a broad range of drawings, prints, books, textiles, and photographs dating from the fifteenth century to the present. Foregrounding ornament’s potential as a mode of communication, a form of currency, and a means of exchange across geographies and cultures, The Clamor of Ornament both celebrates and interrogates ornament’s fluidity by making connections between motifs, methods, and intentions.
“The Drawing Center’s mission is to produce exhibitions and scholarship on drawing of all kinds with the broader goal of promoting drawing as an essential medium in art history, as well as in the contemporary moment,” said Laura Hoptman, The Drawing Center’s Executive Director. “While the majority of shows in our forty-five-year history have focused on fine art, our brief also includes illustration, comics, vernacular and commercial drawing, architecture, and design. The Clamor of Ornament is our first design exhibition in many years and the most ambitious omnibus exhibition The Drawing Center has undertaken in decades.”
Unknown artist, Northern Coromandel coast, India Tree-of-Life Palampore, ca. 1730–50, painted and resist dyed cotton, 318 × 212 cm (Courtesy of Prahlad Bubbar, London, Todd-White Art Photography).
The exhibition’s title is a play on that of Owen Jones’s magnum opus The Grammar of Ornament. First published in 1856, Jones’s compendium sought to establish a set of universal design rules and principles that would apply to ornament in every instance, regardless of its inspiration or application. Rather than seeking to establish new parameters and rules, The Clamor of Ornament celebrates ornamental profusion and welcomes its ability to disrupt canonical form and taste. In swapping ‘Grammar’ for ‘Clamor’, the exhibition’s curators seek to emphasize ornament’s ability to not only communicate but also to embellish and to complicate.
Ornament moves within and between communities and cultures, and throughout the exhibition are examples of ornamental communication as contextual and mutable. This makes for surprising pairings and juxtapositions, such as a woodblock knot print by Albercht Dürer—whose intricate composition was inspired by a design by Leonardo da Vinci, which in turn was influenced by geometric ornament of the Ottoman Empire. Dürer’s well-known knot image is exhibited alongside London-based designer Martin Sharp’s iconic poster of Bob Dylan from 1968, which includes the Ottoman/da Vinci/Dürer design transformed into a psychedelic mandala.
This broad approach to the subject of ornament encompasses objects ranging from eighteenth-century Indian palampores and Pennsylvania Dutch Fraktur drawings to Kosode cut paper designs and Navajo textiles. The history of architectural ornament is explored through drawings by Louis Sullivan and David Adjaye, and contemporary ornament is represented by designs from luxury fashion brands, examples of digital ornament, and even present-day designs for patisserie.
The Clamor of Ornament is organized by Dr. Emily King, Guest Curator, with Margaret Anne Logan and Duncan Tomlin.
The catalogue is available to read for free online:
Laura Hoptman, Emily King, Margaret Anne Logan, Farshid Moussavi, Duro Olowu, Shola Von Reinhold, and Duncan Tomlin, The Clamor of Ornament: Exchange, Power, and Joy from the Fifteenth Century to the Present (New York: The Drawing Center, New York, 2022), 242 pages, $33.
Exhibition | Herrnhut Turns 300
On this day (17 June) in 1722, building began at Herrnhut; information on events marking the 300th anniversary can be found here. From the Staatliche Kunstsammlungen Dresden:
Departure–Network–Remembrance: 300 Years of Herrnhut
Aufbruch–Netz–Erinnerung: 300 Jahre Herrnhut
Völkerkundemuseum Herrnhut, 9 April — 27 November 2022
Founded in 1722 as a settlement for Protestant religious refugees from Moravia, Herrnhut quickly developed into an important center for crafts and trade, whose best-known product today is arguably the Herrnhut Star. Through the expansion and missionary activities of the Moravian Church, the town also became the center of a worldwide network of church renewal movements. Global exchange and commitment to the common good still characterize Herrnhut society today. For the anniversary year 2022, we are displaying insights and outlooks into 300 years of history and stories of Herrnhut and its people. This special exhibition was created in cooperation with the Moravian Church of Herrnhut, the Moravian Archives, and with Herrnhut‘s local history museum.
In the museum’s inner courtyard, a work by Dresden artist Su-Ran Sichling invites visitors to participate proactively. The museum foyer exhibits 3D prints of selected objects, inviting visitors to a ‘hands-on’ overview of the topic. The 3D prints were created in cooperation with the open workshop Geistesblitz in Löbau, where students train in the use of modern technologies. In addition, to mark the anniversary, various installations on the history of the Herrnhut mission will complement our permanent exhibition. They already offer insight into the design of a new exhibit, which is scheduled to open in 2023. Among them, visitors will find an intervention on Winti religion in Suriname, created by Rotterdam artist Jaasir Linger.
Call for Papers | Engraving Dance, Music, Science, and Geography
From ArtHist.net:
Engraving Dance, Music, Science, and Geography: Crafts, Trades, and the Dissemination of Knowledge in the 18th Century
INHA, Paris, 21–22 November 2022
Organized by Pauline Chevalier and Johanna Daniel
Proposals due by 1 July 2022
The expression danse gravée has long designated the dance notation practices of the 18th century, since the diffusion of the Feuillet notation from 1700. The repertoire of engraved contredanses, published and distributed in the form of collections, small notebooks or booklets, notably from the 1760s and the Répertoire des bals by de La Cuisse, is relatively well known. However, the technique itself, the networks of collaboration between engravers and dance masters remain little studied: engravers in music, in mathematics, in geography, masters in writing, are also engravers in dance, when it is not the dance masters themselves who practice intaglio. The place of women engravers, editors, and booksellers (Mme Castagnery) will be widely discussed during these days. The aim here is to understand the way in which choreographic practices in the 18th century fit into a network of printmaking know-how, professional and amateur practices, by questioning the modalities of dance engraving in a wider field of technical engraving, in geography, in science, or in music. The commissions made by dance masters to certain engravers also indicate a desire to move from a technical image to an artistic one, shaping works with sometimes very different costs and uses. Particular attention will be paid to the French and British contexts and to the circulation of plates and models from one side of the Channel to the other.
These days intend to bring together scholars from different disciplines who share the same field of research around printmaking, beyond the choreographic field. As there are very few works on printmaking in dance, these two days will also be considered as moments of collective reflection to which researchers not working specifically on choreographic practices are warmly invited.
We would indeed like to cross the experiences related to the following fields (for the 18th century):
• Dance and Music: musical scores, engraved dances, music, and movement notation
• Geography: engraving and editing of maps
• Science, mathematics: illustration of scientific books
• Writing, calligraphy: engraved books of writing patterns
• and more broadly everything related to the transmission of technical knowledge through images
• Techniques of printmaking and typography
The contributions may thus relate to one or more of the following areas (non-exhaustive):
– The techniques of engraving in geography. Several engravers in dance in the second half of the 18th century were first engravers in maps and plans. The engraving in geography responds to precise stages of production (engraving of figures, before the letter) which seem to have been taken up again for a part of the engraved dances of the 18th century. In addition to a terminology that sometimes designates the figures drawn by the ‘plans of the dance’, it will be a question of analyzing the specific relationship maintained between printmaking in geography and printmaking in dance.
– The networks of engravers in science and especially in mathematics. The development of manuals and works of physical or mathematical ‘recreation’ required the use of engravers whose expertise sometimes extended beyond technical engraving. We will try to understand the processes of specialization of certain engravers who also contributed to dance engraving, bringing with them a way of drawing and arranging the scores.
– Engravers. Dance collections from the second half of the 18th century frequently mention engravers (sometimes the engraver of the figures is not mentioned, only the engraver in writing is indicated). Contributions on the status and techniques of engraving in script are highly desirable.
– Music engraving in France and in England, and its technical evolution. The use of tin and punches for engraving in music seems to have inspired technical evolutions in dance engraving. It may be useful to revisit this English innovation of the 1730s in order to understand how the techniques (and costs) of choreographic printmaking benefited from the expertise of musical printmaking.
– Preparatory drawings. Very few preparatory drawings for engraved scores have been preserved, for many reasons. However, the collaboration between dance masters and engravers may have necessitated the transmission of drawings for the ‘traits’ of the dance when a distinction is regularly made between the author of the dance, the author of the notation and the engraver. Working from other examples, outside of the choreographic field, we would like to examine the intermediate sources and materials for the creation of technical prints.
– The networks of collaborations between actors. The sheets of engraved dances are the fruit of collaborations of a quite important number of actors (master of dance and musicians, amateur and professional dancers, engravers specialized in writing or in music printmaking), publishers, printers, and merchants-bookshops. Some publishing companies are the subject of a company creation. Contributions highlighting the networks of collaborations mobilized for the production of scientific works, musical collections or geographical maps are particularly welcome.
– The amateur practices of engraving and the training of engravers. The analysis of dance scores from the 1770s and, for example, the collections of contredanses published by Bouin attest to the technical progress of Mlle Bouin, the publisher’s daughter, whose first creations proved to be very clumsy. Some dance masters, like Landrin or Rameau, ensure themselves the execution of the engravings of their works, without being professional engravers. The analysis of the biographical paths and of the modalities of learning engraving also allows us to shed light on the exponential development of a publishing enterprise that required the rapid publication (sometimes weekly) of scores.
– The place of women printmakers. If we know relatively well the important feminization of engraving practices in music, the more general share of women in the printmaking world, in France and in England, is the subject of very recent works questioning both the training networks and the mechanisms of emancipation according to family contexts. The case of female printmakers shows quite different biographical paths: daughters, wives or widows of printmakers and/or publishers, they can also have an independent activity, emancipated from the family framework. Particular attention will be paid to this particular place of women in fine and technical printmaking.
– The status of the print and the relationship to the printer-bookkeepers. The full use of copperplate printing for the publication of an edition of Raoul-Auger Feuillet’s Chorégraphie, taken up by Malpied, for example, seems to bypass the corporation of printer-booksellers by proposing works that do not use the letterpress. The cost and technical difficulties of such undertakings (numerous pages of text directly engraved on copperplate), question the motivations of the authors, the bypassing of publishing practices and auctoriality.
– The phenomena of series in the publishing and engraved cartography. In the second half of the 18th century, dance engraving developed through the publication of single scores, gathered in collections and volumes, with tables sold independently, bound series and is a phenomenon that is not specific to the choreographic field. The cheap publication of series and collections of prints outside of choreographic scores will be analyzed through specific examples (booksellers, publishers…)
– The use of renowned engravers and the production of fine images. The publication of Kellom Tomlinson’s The Art of Dancing in 1735, or Guillaume’s Almanach dansant in 1769, reveals practices that go beyond technical printmaking by using renowned engravers and sometimes by assuming the production of images whose aesthetic quality exceeds their didactic virtues. This practice thus makes it possible to shed light on the editorial (and even financial) stakes of such publications.
Proposals for papers, not exceeding one page, followed by a brief bio-bibliographic presentation, should be sent before 1 July 2022 to the following email addresses: pauline.chevalier@inha.fr and johanna.daniel@inha.fr. For accepted proposals, travel, and accommodation expenses will be covered by INHA.
Organization
Pauline Chevalier (INHA) Johanna Daniel (INHA)
Scientific Committee
• Ilaria Andreoli (INHA)
• Mathias Auclair (BnF)
• Laurent Barré (CND)
• Pascale Cugy (University of Rennes 2)
• Marie Glon (University of Lille)
• Joël Huthwohl (BnF)
• Sandrine Nugue (ENSBA Lyon)
• Juliette Robain (INHA)
• Laurent Sebillotte (CND)
This conference is part of a wider research program on dance drawings and notations — Chorégraphies: Écriture et dessin, signe et image dans les processus de création et de transmission chorégraphiques, XVe–XXIe siècles
Indicative Bibliography
BOUCHON, Marie-Françoise, “La Contredanse comme jeu social au XVIIIe siècle”, Analyse musicale, n°69, 4e trimestre 2012, p. 80–86.
CLAYTON Tim, COOK Karen Severud, and KRETSCHMER Ingrid, “Reproduction of Maps,” in Matthew H. Edney and Mary Sponberg Pedley (eds.), Cartography in the European Enlightenment , 4, Chicago, University of Chicago Press, coll. “The history of cartography,” 2020, vol. 2/2, p. 1238–1265.
DEVRIES-LESURE, Annik, Dictionnaire des éditeurs de musique français, vol.1 : Des origines à environ 1820, Geneva, Minkoff, 1979.
DEVRIES-LESURE, Annik, L’édition musicale dans la presse Parisienne au XVIIIe siècle, catalog des annonces, Paris, CNRS Editions, 2005.
FAU, Elisabeth, La gravure de musique à Paris, des origines à la Révolution (1660–1789), Paris, Ecole des Chartes, 1978.
GLON, Marie, “Inventing a Scriptural Technique in the Eighteenth Century: ‘Choreography or the Art of Describing Dance’,” Artefact [Online], 4 | 2016, online 7 July 2017.
GLON, Marie, Les Lumières chorégraphiques. Les maîtres de danse européens au cœur d’un phénomène éditorial (1700–1760), history thesis, ed. Georges Vigarello, EHESS, 2014.
GLON, Marie. “The materiality of theory. Print practices and the construction of meaning through Kellom Tomlinson’s The Art of Dancing Explain’d (1735). Re-thinking practice and theory, Jun 2007, Pantin, France. pp. 190–195.
GRANGER, Sylvie, Dancing in Enlightenment France, Rennes, Presses universitaires de Rennes, 2019.
GUILCHER, Jean-Michel, La Contredanse et les renouvellements de la danse française, Paris / La Haye, Mouton, 1969, republished under the title La Contredanse, Un Tournant dans l’histoire française de la danse, text corrected and completed by Naïk Raviart, preface by Yves Guilcher, Brussels, Complexe / CND, 2003.
LANCELOT, Francine (dir.), La Belle Dance, Catalogue raisonné des chorégraphies françaises en notation Feuillet fait en l’an 1995, Paris, Van Dieren, 1996.
MILLIOT, Sylvette, “Marie-Anne Castagneri. marchand de musique au XVIIIe siècle (1722–1787)”, Revue de Musicologie, vol. 52, no 2, 1966, p. 185–195. Online: https://www.jstor.org/stable/927569
NORDERA, Marina, “La réduction de la danse en art (XVe–XVIIIe siècle)”, in Hélène Vérin and Pascal Dubourg Glatigny (dir.), Réduire en art : La technologie de la Renaissance aux Lumières, Paris, Éditions de la Maison des sciences de l’homme, coll. ” Hors collection “, 2018, p. 269–291. Online: http://books.openedition.org/editionsmsh/10161
Pedley Mary Sponberg, “The map trade in Paris, 1650–1825,” Imago Mundi, vol. 33, no 1, January 1981, p. 33–45. Online: https://doi.org/10.1080/03085698108592513
Pedley Mary Sponberg, The commerce of cartography: making and marketing maps in eighteenth-century France and England, Chicago, University of Chicago Press, series “The Kenneth Nebenzahl, Jr. lectures in the history of cartography,” 2005, vol. 1/.
SMITH, Marc, “Les modèles d’apprentissage de l’écriture en France depuis la Renaissance”, Apprendre, 2020, p. 167–179.
STEIN Perrin (ed.), Artists and amateurs: etching in eighteenth-century France, New York, MET, 2013. Online: https://www.metmuseum.org/art/metpublications/The_Art_of_Etching_in_Eighteenth_Century_France
Print Quarterly, June 2022
Hippolyte Pochon, Du Courage ! En avant Marche (Courage, forward march!), 1815, hand-coloured etching, 23 × 31cm
(Paris, Bibliothèque Nationale)
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 39.2 (June 2022)
Antony Griffiths, “The Publication of Caricatures in Paris in 1814 and 1815, Part II.”
Part II of Antony Griffiths’ article on “The Publication of Caricatures in Paris in 1814 and 1815” discusses the numerous new names, found only in these years, who deposited prints giving their surname and address. Most of these were the actual producers, and many of the most frequent names can be identified. The article turns to each of the main artists individually, many of whom were leading figures in the school of Jacques Louis David. They included Louis François Charon, Gautier, Charles François Gabriel Levachez, Pierre Audouin, Pierre Marie Bassompierre Gaston, Charles Marie Dubois-Maisonneuve, Pierre Lacroix, Louis Félix Legendre, Jean Jacques Théodore Sauvé, Desalle, Charles Elie, Michael Raphael Vautier and Hippolyte Pochon, whose work was particularly well-executed and imaginative.
The issue also includes these relevant reviews:
Johann Georg Edlinger (1741–1819)
Hans Jakob Meier, Review of Brigitte Huber, Georg Edlinger: Porträts ohne Schmeichelei (Munich: Hirmer Verlag, 2021), p. 194.
Dutch and Flemish Flower Pieces
Nadine Orenstein, Review of Sam Segal and Klara Alen, Dutch and Flemish Flower Pieces: Paintings, Drawings and Prints up to the Nineteenth Century (Leiden: Brill and Hes & De Graaf, 2020), p. 226.
Symposium | Everyday Rococo
From the FPS:
Everyday Rococo: Madame de Pompadour and the Arts
Victoria and Albert Museum, London, 1–2 July 2022
Organised by Mia Jackson and Caroline McCaffrey-Howarth
The French Porcelain Society is pleased to announce the rescheduling of the symposium Everyday Rococo: Madame de Pompadour and the Arts to be held at the Gorvy Lecture Theatre, Victoria and Albert Museum, London, on the 1st and 2nd July 2022. With two days of papers, this will be the first reassessment of Jeanne-Antoinette Poisson’s artistic patronage since the landmark exhibition, Madame de Pompadour et les Arts of 2002. Commemorating the tercentenary of her birth and marking the publication of Rosalind Savill’s book Everyday Rococo: Madame de Pompadour and Sèvres Porcelain, this conference will welcome international experts discussing her interests in the fine and decorative arts. Speakers’ biographies and paper abstracts are available here. The symposium is organised by Dr Mia Jackson (Waddesdon Manor) and Dr Caroline McCaffrey-Howarth (DAS Department, V&A Museum).
To book tickets, please visit the French Porcelain Society’s website»
F R I D A Y , 1 J U L Y 2 0 2 2
10.20 Welcome and Introduction by Dame Rosalind Savill (moderator of Day One)
10.35 Morning Session
• John Whitehead (Independent Scholar), The Crisis of 1745: New Thoughts on Madame de Pompadour, the Orry Brothers, and the Vincennes Porcelain Factory
• Kristel Smentek (Associate Professor of Art History, Massachusetts Institute of Technology), Asia at Home: Madame de Pompadour’s Mounted Chinese Porcelain
• Susan Wager (Assistant Professor of Art and Art History, University of New Hampshire), Pompadour Sculpsit: Gems, Prints, and Authorship
13.20 Lunch Break
14.20 Afternoon Session
• Aileen Ribeiro (Professor Emeritus, Courtauld Institute of Art), Madame de Pompadour and the Goddess of Appearances
• Joana Mylek (PhD Candidate, Ludwig Maximilian University of Munich), Madame de Pompadour’s Collection of Meissen Porcelain
• Bertrand Rondot (Conservateur en chef, Château de Versailles), A Rococo Rupture: Or Madame de Pompadour’s Taste in Furniture
16.30 Discussion
18.00 Drinks at the Savile Club (generously sponsored by Christie’s and Bonhams)
19.30 Dinner at the Savile Club (reservation only)
S A T U R D A Y , 2 J U L Y 2 0 2 2
10.20 Opening Remarks by Helen Jacobsen (moderator of Day Two)
10.25 Morning Session
• Rosalind Savill (Former Director of the Wallace Collection), Madame de Pompadour’s Sèvres Porcelain for Everyday Use
• Mia Jackson (Curator of Decorative Arts, Waddesdon Manor), Pampered and Adored: Madame de Pompadour’s Pets
• Alexandre Gady (Professor of the History of Art, Sorbonne Université), Madame de Pompadour as a Patron of Architecture: Some Reflections
13.00 Lunch Break
14.00 Afternoon Session
• Rachel Jacobs (Curator of Books and Manuscripts, Waddesdon Manor), Madame de Pompadour’s Library
• Alden Gordon (Professor of Fine Arts, Trinity College, Hartford), The Language of Gifts: Madame de Pompadour’s Hierarchy of Giving and Receiving
15.15 Discussion
15.45 Closing Remarks
New Book | Madame de Pompadour: Painted Pink
Forthcoming from Harvard Art Museums and distributed by Yale UP:
A. Cassandra Albinson, ed., Madame de Pompadour: Painted Pink (Cambridge: Harvard Art Museums, 2022), 88 pages, ISBN: 978-0300263817, $25.
A fresh take on a beloved masterpiece of portraiture, focusing on the complex significance of the color pink in 18th-century France
François Boucher’s 1750 half-length portrait of Madame de Pompadour—influential court figure and mistress to King Louis XV—has been the subject of much art historical attention, particularly with regard to gender and representation. Building on that foundation, this volume turns toward an underappreciated aspect of the portrait: the use and significance of the color pink. Four scholarly essays, including one by noted Boucher expert Mark Ledbury, establish a framework that connects Pompadour’s fondness and promotion of the color, Boucher’s artistic association with the color, and developments in the material basis of the color, including its application in other media such as porcelain. This engaging close look offers new ways to understand the portrait, revealing its links to motherhood and sentiment, race and the transatlantic slave trade, and the crosscurrents of natural history and scientific discovery.
A. Cassandra Albinson is the Margaret S. Winthrop Curator of European Art and Head of the Division of European and American Art at the Harvard Art Museums. With additional contributions by Mark Ledbury, Power Professor of Art History and Visual Culture and director of the Power Institute at the University of Sydney; Gabriella Szalay, PhD candidate, Georg-August-Universität Göttingen, and 2018–20 Renke B. and Pamela M. Thye Curatorial Fellow in the Busch-Reisinger Museum, Harvard Art Museums; and Oliver Wunsch, Assistant Professor of Art History at Boston College and 2018–19 Maher Curatorial Fellow of American Art at the Harvard Art Museums.
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