Enfilade

Anne-Louis Girodet de Roussy-Trioson, Coriolanus Taking Leave of His Family, 1786, oil on canvas, 114 × 146 cm
(National Gallery of Art, Washington)

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The eighteenth century in the October issue of The Burlington:

The Burlington Magazine 165 (October 2023)

a r t i c l e

• Aaron Wile, “Girodet’s Coriolanus Taking Leave of His Family Rediscovered,” pp. 1094–1105.
In 2019 Girodet’s lost entry for the 1786 Grand prix de peinture came to light and was acquired by the National Gallery of Art, Washington. The painting, which depicts a rarely represented incident from the story of Coriolanus—a subject that may have had contemporary political relevance—was not awarded the prize, probably because Girodet was regarded as being too close to Jacques-Louis David, a relationship to which the work may allude.

s h o r t e r  n o t i c e

• Antoinette Friedenthal, “Image of a Connoisseur: An Unknown Portrait of Pierre Jean Mariette,” pp. 1106–10.
Among the unpublished miniatures in the Victoria & Albert Museum, London (V&A), is an eighteenth-century bust-length portrait of a middle-aged gentleman. A basic unillustrated inventory sheet for this work appeared in 2020 on the museum’s website. It stated that the portrait represents Pierre Jean Mariette (1694–1774) but gave no reasons for this identification and did not provide any information on the object’s provenance. It will be argued here that a combination of visual and documentary evidence confirms the identification.

r e v i e w s

• Mark Bill, Review of the exhibition Reframing Reynolds: A Celebration (The Box, Plymouth, 2023), pp. 1124–27.

• Stephen Lloyd, Review of the refurbished Medieval, Renaissance, and Baroque galleries at the Walker Art Gallery, Liverpool, pp. 1130–33.

• Beth McKillop, Review of the exhibition China’s Hidden Century (The British Museum, London, 2023), pp. 1136–38.

• Satish Padiyar, Review of the exhibition Sade: Freedom or Evil (CCCB, Barcelona, 2023), pp. 1143–46.

• Malcolm McNeill, Review of Anne Farrer and Kevin McLoughlin, eds., Handbook of the Colour Print in China, 1600–1800 (Brill, 2022), pp. 1150–52.

• Edward Cooke, Review of Elisa Ambrosio, Francine Giese, Alina Martimyanova, and Hans Bjarne Thomsen, eds., China and the West: Reconsidering Chinese Reverse Glass Painting (De Gruyter, 2022), pp. 1152–53.

• David Ekserdjian, Review of the catalogue, Denise Allen, Linda Borsch, James David Draper, Jeffrey Fraiman, and Richard Stone, eds., Italian Renaissance and Baroque Bronzes in the Metropolitan Museum of Art (The Metropolitan Museum of Art, 2022), pp. 1156–58. The book is available as a free PDF The Met’s website.

• Rowan Watson, Review of Christopher de Hamel, The Posthumous Papers of the Manuscripts Club (Allen Lane, 2022), pp. 1160–62.

• Stefan Albl, Review of Francesco Lofano, Un pittore conteso nella Napoli del Settecento: L’epistolario e gli affari di Francesco de Mura (Istituto Italiano Studi Filosofici, 2022), pp. 1163–64.