The Art Bulletin, December 2022

Posted in books, journal articles, reviews by Editor on January 29, 2023

The eighteenth century in the latest issue of The Art Bulletin 104 (December 2022), along with the methodological ‘perspective’ conversation from Fricke and Flood:


Journal cover• Beate Fricke and Finbarr Barry Flood, “Premodern Globalism in Art History: A Conversation,” pp. 6–19.

A conversation took place in 2021 between two art historians whose research focuses on different regions of the premodern world and who have recently collaborated on a project dealing with early histories of globalism. The discussion considers the potential archival value of ‘flotsam’—that is, extant artifacts and images lacking extensive textual metadata—for (re)constructing transcultural and transregional histories of circulation and reception. It addresses divergences in the nature of the available archival materials and the ethical and methodological challenges this poses. The discussants consider the need to move beyond earlier, largely celebratory narratives of the global to engage the ways in which transregional and transcultural networks intersected with more rooted or regional traditions of art making and material culture.

• Paris A. Spies-Gans, “Why Do We Think There Have Been No Great Women Artists? Revisiting Linda Nochlin and the Archive,” pp. 70–94.

In 1971 Linda Nochlin published her quickly canonical “Why Have There Been No Great Women Artists?” (ARTnews 69, no. 9). She offered a powerful narrative, claiming that Western institutional structures and a lack of access to vital educational opportunities had historically prevented women from becoming ‘great’ artists—indeed from even having the potential to achieve greatness. I suggest new visual and textual lenses through which we can update Nochlin’s narrative and reconsider women artists on their own societies’ terms, arguing that by returning to the archive, we can identify greatness and professionalism where they have eluded us before.


• Amy Knight Powell, Review of Aaron Hyman, Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Publications, 2021), pp. 120–23.

• Amanda Lahikainen, Review of Joseph Monteyne, Media Critique in the Age of Gillray: Scratches, Scraps, and Spectres (University of Toronto Press, 2022), pp. 123–26.

New Book | Media Critique in the Age of Gillray

Posted in books by Editor on January 29, 2023

From Toronto UP:

Joseph Monteyne, Media Critique in the Age of Gillray: Scratches, Scraps, and Spectres (Toronto: University of Toronto Press, 2022), 316 pages, ISBN: ‎978-1487527747, $75.

Book coverIn the late 1790s, British Prime Minister William Pitt created a crisis of representation when he pressured the British Parliament to relieve the Bank of England from its obligations to convert paper notes into coin. Paper quickly became associated with a form of limitless reproduction that threatened to dematerialize solid bodies and replace them with insubstantial shadows. Media Critique in the Age of Gillray centres on printed images and graphic satires which view paper as the foundation for the contemporary world. Through a focus on printed, visual imagery from practitioners such as James Gillray, William Blake, John Thomas Smith, and Henry Fuseli, the book addresses challenges posed by reproductive technologies to traditional concepts of subjective agency.

Joseph Monteyne shows that the late eighteenth-century paper age’s baseless fabric set the stage for contemporary digital media’s weightless production. Engagingly written and abundantly illustrated, Media Critique in the Age of Gillray highlights the fact that graphic culture has been overlooked as an important sphere for the production of critical and self-reflective discourses around media transformations and the visual turn in British culture.

Joseph Monteyne is an associate professor in the Department of Art History, Visual Art, and Theory at the University of British Columbia.


List of Illustrations

Introduction: Making and Unmaking the Paper World

1  Dark Media and the Materiality of Nothing
Dark Media and Graphic Materiality
Smoked Images and Night Pieces: Touching Nothing
Form and Formlessness in Blake’s Embedded Media

2  Haunted Media
Conjuring Dead Painters
The Baseless Fabric of Print
Dematerializing Media

3  Good Copies, Bad Copies
Counterfeit Masks
Repetition with Difference
Pairs of Portraits

4  Social Detritus, Paper Detritus
Blind Beggars and Printed Images
Cobbling, Patching, Translating
The Gatherer of Scraps


Cleveland Announces New Acquisitions

Posted in museums by Editor on January 29, 2023

From the CMA press release (17 January 2023). . .

Recent acquisitions by the Cleveland Museum of Art (CMA) include a Korean abstract expressionist painting by Yun Hyong-keun 윤형근; a ten-panel folding screen by Kim Yoon-bo 김윤보; an early masterpiece by James Tissot from his English period; and a recently discovered full-length pastel portrait by Hugh Douglas Hamilton, the most celebrated Irish portraitist of the Grand Tour. . . .

Hugh Douglas Hamilton’s Portrait of George Clavering Cowper

Portrait of a man standing with a large dog by his side.

Hugh Douglas Hamilton, Portrait of George Clavering Cowper, 3rd Earl Cowper, 1785, pastel on paper stretched on linen; sheet: 94 × 69 cm (The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund).

Preserved in remarkable condition, this portrait has remained in the sitter’s family—and was discovered only recently in the collection of the descendants of its sitter, George Clavering Cowper, 3rd Earl Cowper (1738–1789), of Great Britain. The full-length pastel was a type developed during the 18th century that appealed to English tourists on the Grand Tour to Italy. The earl, a cultural paragon in Italy and a patron of artists and composers, sat for the most celebrated Irish portraitist of the Grand Tour, Hugh Douglas Hamilton, in Florence, where he made his home.

Cowper prominently wears the sash and star of the which he had received in March 1785. The Order of Saint Hubertus was founded in 1695, a knightly order of aristocratic hunters from throughout the Hapsburg empire, whose motto was “Honoring God by Honoring his Creatures.” Evoking the emotion of this motto, Hamilton featured Cowper’s hunting dog, who receives a tender pat on the head and wears a collar inscribed with Cowper’s name.

The portrait enhances the CMA’s collection of pastels, a strength of its drawings collection. The acquisition was made possible by the Leonard C. Hanna Jr. Fund.

More information on the portrait is available at Lowell Libson & Jonny Yarker.

The full press release describing the other three acquisitions is available here»

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