Getty Research Institute: Art and Materiality, 2015/2016
A selection of this year’s Getty scholars working on the eighteenth century:
Getty Research Institute: Art and Materiality, 2015/2016
In the past decade, a greater attention to the art object and its materiality has enhanced the study of art history, opening new avenues of investigation. Combined with more historical methodologies, the focus on the materiality of artworks is offering profound insights into their meanings. Artists across time and space have infused materials not only with ritual and symbolic significance but also social, political, and economic functions. Art historians, increasingly in collaboration with conservators and scientists, are gaining insight into the process of art making from raw material to finished object, the chaîne opératoire, as well as the strategic deployment of materials both for their aesthetic qualities and for their power to signify. The inquiry into an artwork’s materiality raises questions about procurement, trade, value, and manufacturing on the one hand, and, on the other, about the materiality of mechanically reproduced objects or of ephemeral, durational, and conceptual works. Finally, as artworks move between cultures, their materials—whether feathers, shells, marble, or oil paint—are given new meanings, thereby accumulating additional interpretive layers.
G E T T Y S C H O L A R
Corinna Gramatke is an independent scholar based in Düsseldorf, Germany. Her research concentrates on material-technical research and written art-technological sources from Spain and Latin America of the seventeenth and eighteenth centuries.
José Sánchez Labrador’s Manuscript Paraguay natural ilustrado (1771–76): Critical and Annotated Edition of the Chapters Dealing with Art Technological Materials and Indications for the Artistic Production in the Jesuit Missions in Paracuaria during the Seventeenth and Eighteenth Century
(April–June)
Fernando Guzmán is Associate Professor at the Universidad Adolfo Ibáñez, Santiago, Chile. He specializes in Spanish colonial art.
From Polychrome Wood to White Marble: Devotional Art in Santiago de Chile during the Eighteenth and Nineteenth Centuries
(January–March)
Gabriela Siracusano is Director of the Centro de Investigación en Arte, Materia y Cultura at the Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina; Career Scientific Researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas in Buenos Aires; and Professor of Theory and Historiography at the Universidad de Buenos Aires. Her research concerns Andean colonial artistic production and artistic materiality.
The Bowels of the Sacred
(January–March)
P O S T D O C T O R A L F E L L O W
Noémie Etienne received her doctorate in the Department of Art History from the University of Geneva, Switzerland, and University of Paris 1 Sorbonne, France.
A Material Art History? Paintings Restoration and the Writing of Art History
(September–June)
A full list is available here»
Lecture | Christoph Vogtherr on Karoline Luise of Baden
Later this summer at The Wallace Collection:
Christoph Vogtherr | Karoline Luise of Baden: Collector and ‘Amatrice’
The Wallace Collection, London, 7 August 2015
Karoline Luise, Markgräfin (Marchioness) of Baden was one of the greatest women collectors of the eighteenth century and an accomplished amateur artist. Her collection of paintings and drawings—including works by Chardin, Boucher and Liotard—forms the nucleus of the Kunsthalle in Karlsruhe in Southern Germany. Christoph Vogtherr will discuss the collecting and interests of this fascinating figure. The Wallace Collection is embarking on a collaboration with the Kunsthalle towards an exhibition of French drawings from the Karlsruhe collection.
Friday, 7th August, 2015 at 1:00pm; admission is free.
Exhibition | Korea Mania: A Traveller’s Tale
On view in Sèvres:
Corée Mania: Roman d’un Voyageur
Cité de la Céramique, Sèvres, 21 January — 20 July 2015
Curated by Stéphanie Brouillet
Dragon Jar, Korean, 18th century (MNC28154 Sèvres – Cité de la céramique / RMN)
Cité de la céramique célébre en 2015 les Années croisées France-Corée, en organisant deux expositions: l’une patrimoniale avec Roman d’un voyageur, l’autre contemporaine à travers la présentation des œuvres de Yik-Yung Kim et Yeun-Kyung Kim.
Du 21 janvier au 20 juillet, l’exposition Roman d’un voyageur s’articule autour de la figure emblématique du diplomate Victor Collin de Plancy (1853–1922), premier consul de France en Corée qui collecta de nombreux objets et œuvres d’art coréens. L’exposition invite à un double voyage : celui vers la péninsule coréenne, au cœur de l’Extrême-Orient, à la découverte d’une culture ancienne et raffinée, et l’autre sous la forme d’une plongée dans le temps, vers le « royaume ermite » de la fin de l’époque Choson, à la fin du XIXe siècle.
De nombreuses céramiques dont certaines exceptionnelles du 1er siècle de notre ère à nos jours, dont la grande jarre à décor de dragon du XVIIIe siècle, considérée comme un chef-d’oeuvre des collections nationales conservées par l’établissement, sont présentées ainsi que du mobilier, des instruments de musique, des objets quotidiens, des photographies, des peintures, des documents d’archives qui évoquent le pays et son art de vivre.
Une journée d’étude sur le céladon, à la fois sous l’angle historique mais aussi scientifique, prévue à l’automne, viendra ponctuer cette saison coréenne à la Cité de la céramique.
Le commissariat est assuré par Stéphanie Brouillet, conservatrice du patrimoine chargée des céramiques asiatiques à Sèvres. La scénographie est confiée au designer Vincent Dupont-Rougier.
A summary in English is available from the Asia Europe Museum Network (ASEMUS):
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The catalogue is published by Loubatières:
Roman d’un Voyageur, Victor Collin de Plancy: L’histoire des Collections Coréennes en France (Carbonne: Loubatières, 2015), 263 pages, ISBN: 978-2862667195, 39€.
Victor Collin de Plancy fut le premier représentant de la France en Corée entre 1888 et 1906. Interprète puis diplomate, il se passionna pour l’histoire et l’art de ce pays resté longtemps fermé pour les Occidentaux. Désireux de le faire connaître en France, il rassembla un grand nombre d’objets—céramiques, manuscrits, livres, meubles ou costumes—dont il fit don à des institutions françaises au rang desquelles figure le Musée national de la céramique. Il fut également au cœur d’un petit groupe de voyageurs passionnés par la Corée qui, à leur tour, enrichirent les collections françaises.
A preview of the catalogue is available here»
The Burlington Magazine, May 2015
The eighteenth century in The Burlington:
The Burlington Magazine 157 (April 2015)
A R T I C L E S
• Tessa Murdoch, “Power and Plate: Sir Robert Walpole’s Silver,” pp. 318–24.
• Julius Bryant, “Queen Caroline’s Richmond Lodge by William Kent: An Architectural Model Unlocked,” pp. 325–30.
R E V I E W S
• Duncan Robinson, Review of Mark Hallet, Reynolds: Portraiture in Action (The Paul Mellon Centre for Studies in British Art, 2014), pp. 341–47. Available at The Burlington website for free.
• Stephen Lloyd, Review of Cory Korkow with Jon Seydl, British Portrait Miniatures: The Cleveland Museum of Art (D. Giles, Ltd., 2013), pp. 349–50.
• Richard Wolfe, Review of the exhibition Shifting Patterns: Pacific Barkcloth Clothing (British Museum, 2015), pp. 361–62.
• Jamie Mulherron, Review of two exhibitions: Charles de La Fosse: Le Triomphe de la Couleur (Versailles and Nantes, 2015) and Bon Boullogne (1649–1717): Un chef d’école au Grand Siècle (Dijon, 2014–15), pp. 365–67.
New Book | Ireland: Crossroads of Art and Design, 1690–1840
In connection with the exhibition now on view the Art Institute of Chicago, Yale University Press is distributing the catalogue (congratulations, Ireland, on an inspiring weekend). –CH
William Laffan and Christopher Monkhouse, eds., with Leslie Fitzpatrick, Ireland: Crossroads of Art and Design, 1690–1840 (New Haven: Yale University Press, 2015), 288 pages, ISBN: 978-0300210606, $50.
This groundbreaking book captures a period in Ireland’s history when countless foreign architects, artisans, and artists worked side by side with their native counterparts. Nearly all of the works within this remarkable volume—many of them never published before—have been drawn from North American collections. This catalogue accompanies the first exhibition to celebrate the Irish as artists, collectors, and patrons over 150 years of Ireland’s sometimes turbulent history.
Featuring the work of a wide range of artists—known and unknown—and a diverse array of media, the catalogue also includes an impressive assembly of essays by a pre-eminent group of international experts working on the art and cultural history of Ireland. Major essays discuss the subjects of the Irish landscape and tourism, Irish country houses, and Dublin’s role as a center of culture and commerce. Also included are numerous shorter essays covering a full spectrum of topics and artworks, including bookbinding, ceramics, furniture, glass, mezzotints, miniatures, musical instruments, pastels, silver, and textiles.
William Laffan is an art historian and author, and former editor of Irish Architectural and Decorative Studies: The Journal of the Irish Georgian Society. Christopher Monkhouse is the chair and Eloise W. Martin Curator, Department of European Decorative Arts, at the Art Institute of Chicago.
Exhibition | Shifting Patterns: Pacific Barkcloth Clothing
Barkcloth, kua’ula, Hawaiian Islands, Eastern Polynesia, late 18th Century
(London: The British Museum)
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Now on view at The British Museum:
Shifting Patterns: Pacific Barkcloth Clothing
The British Museum, London, 5 February — 6 December 2015
Discover a selection of textiles from the Pacific made from barkcloth. Used to wrap, drape and adorn the body in a myriad of styles and designs, these garments demonstrate the long history of barkcloth, and its ongoing relevance today.
In the islands of the Pacific, cloth made from the inner bark of trees is a distinctive art tradition. Probably brought to the region at least 5,000 years ago by some of the first human settlers, its designs reflect the histories of each island group and the creativity of the makers. Spanning the region from New Guinea in the west to Rapa Nui (Easter Island) in the east, the exhibition will show a selection of 77 garments, headdresses, masks and body adornments from the Museum’s collection. Dating from the 1700s to 2014, the pieces on display include those worn as everyday items and ceremonial costumes linked to key life cycle events such as initiation and marriage.
Barkcloth is generally made and decorated by women, but garments intended for ritual purposes may be made by men. This is particularly true in the masking traditions of Papua New Guinea. The Baining people who live on the large island of New Britain continue to make masks for day and night dances. In the exhibition, an elaborately decorated Baining mask made in the 1970s demonstrates how barkcloth can be used in dramatic three-dimensional creations.
Imported cloth and the changes brought by colonial activities across the region have had different impacts on the art form. In some locations, such as Tonga, barkcloth making never completely stopped. In others, such as Hawaii, the practice has actively been revived and Hawaiian kapa is now worn for high profile hula performances. The exhibition considers these recent developments, and shows a barkcloth dance skirt made in 2014 by Hawaiian practitioner Dalani Tanahy alongside some fine examples of early Hawaiian cloth, including a cloth with striking red and black designs thought to have been made in the late 1700s.
New arenas for cultural expression continue to emerge through barkcloth creations, as urban Pacific Island designers incorporate barkcloth elements and patterns into garments intended for the catwalk. A stunning wedding dress made by New Zealand-based Samoan designer, Paula Chan Cheuk illustrates this movement and reflects the continuing relevance of barkcloth as a flexible, resilient art tradition.
Study Day | Close-up and Personal: Eighteenth-Century Gold Boxes
In conjunction with the exhibition Close-up & Personal, The Fitzwilliam is hosting a study day in June:
Gold Boxes: Manufacture and Marketing from the 18th Century to the Present Day
A Rosalinde and Arthur Gilbert Collection Study Day
The Fitzwilliam Museum, Cambridge, 26 June 2015
Lavish and intricate gold boxes of the eighteenth century are amongst the most beautiful objects ever made. These delicate and refined miniatures contained snuff—powdered tobacco. These boxes enjoy a unique status as objects of desire. Speakers including expert auctioneers, conservators, curators, goldsmiths, and scholars will celebrate their exquisite materials and subtle significance. The day is made possible through the generosity of the Gilbert Trust for the Arts, London. £10. Booking is essential: telephone 01223 332904 or email education@fitzmuseum.cam.ac.uk.
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P R O G R A M M E
10:30 Registration and coffee
11:00 Welcome and introduction, Heike Zech, Senior Gilbert Curator, Victoria and Albert Museum
11:10 ‘Buying and Selling Gold Boxes’, Vanessa Brett, Independent Scholar, Wiltshire
11:35 ‘Swiss Automata of the Late Eighteenth and Early Nineteenth Centuries’, Julia Clarke, Independent scholar and consultant to Sotheby’s, London
12:00 ‘From London to St Petersburg: The Career of the Swiss Craftsman Jean-Pierre Ador’, Roger Smith, Independent scholar, London
12:25 ‘In a Rush: California’s Twentieth-Century Collectors of Gold Boxes’, Rosie Mills, The Rosalinde and Arthur Gilbert Foundation Associate Curator, Los Angeles County Museum of Art
12:50 Discussion
13.00 Lunch provided
14:00 ‘Attention to Detail: Case Studies’, chaired by Tessa Murdoch, Deputy Keeper, Sculpture, Metalwork, Ceramics and Glass
14:10 ‘Diamonds and Coloured Gems: What Lies Beneath’, Joanna Whalley, Gemmologist and Senior Metals Conservator Victoria and Albert Museum
14:30 ‘Micromosaics’, Heike Zech, Rosalinde and Arthur Gilbert Senior Curator, Victoria and Albert Museum
14:50 ‘Enamels’, Sheila McDonald, Enameller and Jeweller, in conversation with Mélodie Doumy, Rosalinde and Arthur Gilbert Assistant Curator, Victoria and Albert Museum
15:10 ‘Chasing Gold’, Rod Kelly, Contemporary goldsmith, Norfolk
15:30 Discussion
15:45 Tea and coffee
16:00 Study visit to Close-Up and Personal: Eighteenth-Century Gold Boxes from the Rosalinde and Arthur Gilbert Collection accompanied by the curators
16:45 Fitzwilliam Museum closes
Please be aware this programme may be subject to change.
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At the V&A’s blog, Assistant Curator Melodie Doumy also notes the following lunchtime talks at the Fitzwilliam Museum:
• ‘Snuff-taking, fashion and accessories‘ by Tessa Murdoch, 27 May 2015
• ‘François Boucher on enamelled snuffboxes: The art of adapting Rococo engravings‘ by Mélodie Doumy, 10 June 2015
• ‘Inside a Paris goldsmiths’ workshop: from design to gold box‘ by Heike Zech, 1 July 2015
Workshop | Collections in Use
From the conference website:
Collections in Use
Anatomy Lecture Theatre, King’s College London, 6 July 2015
Over the past few decades, material turns taking place across a number of disciplines have established the importance of placing objects within their broad geographical, conceptual, social and cultural contexts in order to understand the multiplicity of meanings with which they were invested within past societies. Objects are understood to have their own ‘social lives’, illustrated in the various ways in which they were exchanged, acquired, accumulated and displayed.
The history of collecting, in particular, has been a central node in discussions regarding the meanings of objects in the past, because it encompasses a range of activities within and across societies around the world. As such, scholars working on early modern material culture are amassing a great deal of knowledge regarding the precise motivations for collecting objects, how specific objects entered into collections, and which people facilitated this.
Much less is known, however, about what happened within collections, both to the objects and the people who interacted with them. In order to fully understanding the role of objects, collections and collectors within early modern society, therefore, we need to generate more discussion around this issue using the broadest possible sense of the word ‘collection’, including but not limited to: cabinets, museums, sculpture galleries, literary miscellanies, menageries, herbaria, gardens, and houses.
Collections in Use is a one-day workshop designed to bring together early modern scholars across several disciplines to showcase their work across a variety of collections: anatomical, medical, domestic, princely, antiquarian, natural historical, literary, and artistic. To book tickets and for more information, please go to the Eventbrite page.
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P R O G R A M M E
9:30 Registration and coffee
9:50 Welcome by Alice Marples and Victoria Pickering
10:00 Managing Collections: Collecting, Cataloguing, Curating
Chair: Felicity Roberts (King’s College London/British Museum)
• Bert van de Roemer (Universiteit van Amsterdam) – The Act of Assembling Objects
• Mia Jackson (Queen Mary University of London) – The Collections of the Illustres: Collections in Use in the Louvre
•Fabio Morabito (King’s College London) – In Search of His Own Signature: Luigi Cherubini’s Collection of Autographs by Other Composers
11:15 Coffee break
11:45 Experimental Collections: In, With, For
Chair: Alice Marples (King’s College London/British Library)
• Sally Osborn (University of Roehampton) – ‘To be placed with experements’: Developing Knowledge through the Collection and Use of Medical Recipes
• Helen McCormack (Glasgow School of Art) – Superb Cabinets or Splendid Anachronisms? ‘Experimental’ Collecting in Early Scientific Interiors
• Reese Arnott-Davies (Birkbeck University) – ‘Some Dark Emblem’: Visibility, Obscurity and Exhibiting Egypt at Montagu House
1:00 Lunch
2:00 Disseminating Collections: Publication and Practice
Chair: Victoria Pickering (Queen Mary University of London/Natural History Museum)
• Barbara Furlotti – Through Drawings and by Word of Mouth: Circulating Information on Antiquarian Collections in the Early Modern Period
• Isabelle Charmantier (The Linnean Society) – The Linnaean Workshop: Practices of Disseminating Botanical Knowledge
• Dominik Huenniger (University of Göttingen) – ‘Academies of Natural History’: Continental Utilisation of Collections in Eighteenth-Century Britain
3:15 Coffee break
3:45 Researching Collections: Current Methods
Chair: Martha Fleming (Reconstructing Sloane Project)
• Jed Foland (Bodleian Library) – Museums as Laboratories: Reenacting Scientific Discovery Using the Microscope
• Clare Hickman (King’s College London) – Reconsidering the Role of Botanic Gardens
• Alexandra Cook (University of Hong Kong) – Looking at the Herbarium as a Robust Scientific Object
5:00 Roundtable
Chair: Elizabeth Eger (King’s College London)
• Anne Goldgar (King’s College London)
• Alexander Marr (University of Cambridge)
• Mark Carnall (Grant Museum of Zoology)
• Lisa Skogh (Victoria and Albert Museum)
6:00 Wine reception
Exhibition | Napoleon’s Artists in Australia
Lagostrophus fasciatus (Banded Hare Wallaby), Péron and Lesueur, 1807, Watercolour and ink on paper, Western Australia (Muséum d’Histoire Naturelle du Havre).
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Press release (15 May 2015) from the National Museum of Australia:
Napoleon’s Artists in Australia
South Australian Maritime Museum, Adelaide, from July 2016
Tasmanian Museum and Art Gallery, Hobart, from early 2017
National Museum of Australia, Canberra, from September 2017
TBA
Exquisite illustrations by French artists made during Nicolas Baudin’s exploration of Australia will come to Australia as the result of a deal clinched in Canberra between the Museum of Natural History in Le Havre, France and six Australian museums. Under the Memorandum of Understanding (MOU) between the French and Australian museums, stunning original watercolours and drawings by Baudin expedition artists Charles-Alexandre Lesueur and Nicolas-Martin Petit will be showcased at venues across the country.
New Holland – Mororé, Nicolas-Martin Petit, Pierre noire or charcoal and sanguine on paper (Muséum d’Histoire Naturelle du Havre)
The French artists explored Australian waters between 1800 and 1804 with the expedition of Baudin, who was commissioned by Napoléon Bonaparte, First Consul of France, to investigate Nouvelle Hollande—particularly its uncharted southern coast. As Baudin’s two ships charted the continent’s coastline, the artists captured the wonders of a new land in vivid watercolours of animals, people, and landscapes.
The working title of the planned exhibition is Napoleon’s Artists in Australia. Most of the anticipated 100 illustrations have never been displayed in Australia before. The project was instigated by the Museum of Natural History in Le Havre and the South Australian Maritime Museum (Adelaide). It also involves the Australian National Maritime Museum (Sydney), the Western Australian Museum (Perth), the Queen Victoria Museum and Art Gallery (Launceston), the Tasmanian Museum and Art Gallery (Hobart), and the National Museum of Australia (Canberra).
Minister for the Arts, Senator the Hon George Brandis QC, welcomed the collaboration. “This partnership will allow audiences across the country to see unique depictions of life in Australia though French eyes,” said Senator Brandis.
National Museum of Australia director Mathew Trinca said that the illustrations are a rare window into the lives of the First Australians before European settlement. “These illustrations provide unique insights into life in Australia before European colonisation and I’m excited to be involved in bringing them to the country,” said Dr Trinca.
A delegation from France, led by the Mayor of Le Havre, Edouard Philippe, was on hand in Canberra to sign the MOU.
New Holland – Mororé, Nicolas-Martin Petit, Pierre noire or charcoal and sanguine on paper (Muséum d’Histoire Naturelle du Havre)
Museum of Natural History director, Cedric Cremiere said: “It is wonderful that after that first French encounter with Australia more than 200 years ago, we can share these discoveries and sense of wonder with Australian audiences.”
The French Ambassador to Australia, Christophe Lecourtier, said Lesueur was a magnificent artist, a pioneering naturalist and an astute observer.
“These extraordinary illustrations will be showcased in six Australian museums thanks to a fruitful partnership with the Muséum d’Histoire Naturelle du Havre—which was created to house Lesueur’s work—and for which we have the pleasure to thank, the Mayor of Le Havre, Mr Edouard Philippe. Mr Philippe is here with us today on his first ever visit to Australia. This is an extraordinary opportunity for the public to discover Australia, as the first explorers and French navigators did, more than 200 years ago,” said Ambassador Lecourtier.
Illustrations featured in the exhibition will include: evocative portraits of Indigenous Australians in NSW and Tasmania; images of Indigenous baskets and watercraft; whimsical watercolours of strange marine invertebrates; highly accurate profiles of the coastline; and drawings of Australian mammals such as Kangaroo Island’s dwarf emu, which have now disappeared. The exhibition will open in Adelaide in July 2016, before touring the country until May 2018. It will open in Canberra at the National Museum of Australia in September 2017.
Commemorating the Aboriginal Warrior Pemulwuy
This engraving by Samuel John Neele of James Grant’s image of ‘Pimbloy’ is believed to be the only known depiction of Pemulwuy. It was published in Grant’s The Narrative of a Voyage of Discovery, Performed in His Majesty’s Vessel the Lady Nelson, of Sixty Tons Burthen, with Sliding Keels, in the Years 1800, 1801 and 1802, to New South Wales, 1803 (State Library of New South Wales Q80/18).
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Press release (20 March 2015) from the National Museum of Australia in Canberra:
Defining Moment in Australia’s History
National Museum Honours Aboriginal Warrior Pemulwuy
The life of Aboriginal warrior Pemulwuy is commemorated today at the National Museum of Australia as part of its Defining Moments project, which explores key dates that have defined the country’s history over more than 50,000 years.
As Australia’s first Aboriginal resistance leader and a member of the Bidjigal people, Pemulwuy fought the British at Sydney from 1792 by leading attacks on farms, burning crops and dispersing stock in an attempt to starve the settlers out. After surviving a number of battles he was finally killed by settlers in June 1802 at the age of about 52 years. His body was dishonoured with the removal of his head, which was sent to the naturalist Joseph Banks in England. It has yet to be found. The National Museum is working in collaboration with the Ministry for the Arts Museums and Repatriation unit, to undertake research into the possible whereabouts of Pemulwuy’s remains.
The National Museum today [20 March 2015] unveils a plaque in its Main Hall, commemorating Pemulwuy’s campaign of resistance.
The Minister for Education and Training, Christopher Pyne, representing the Australian Government at the ceremony, said Pemulwuy was a figure of Aboriginal defiance, and his legacy remains an important part of Indigenous culture in Australia. “For some years I have been working with Alex Hartman, a member of the National Museum of Australia Council to help find and repatriate the remains of Pemulwuy,” Pyne said. “Pemulwuy’s story is an important one and he deserves to be commemorated in this way.”
National Museum director Mathew Trinca said Pemulwuy was a hero to Aboriginal people. “Pemulwuy’s daring leadership impressed enemies and comrades alike and the story of his concerted campaign of resistance against British colonists should be more widely known,” said Trinca.
Bidjigal elder Uncle Vic Simms said, “What the Museum is doing is so important for getting the history right about Pemulwuy as a Bidjigal man, who resisted and rebelled against the settlers and stood up against them when they were giving blackfellas such a hard time.”
Defining Moments is a National Museum project supported by patrons, the Hon Michael Kirby AC CMG and Mr Michael Ball AM. Under the project, the National Museum is releasing online content for an initial list of 100 Defining Moments and is encouraging people to contribute their own ideas on historical dates of importance. The Museum’s list is a starting point for discussions and is not intended to be definitive.
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