Released in October from Yale UP:
Max Page, Why Preservation Matters (New Haven: Yale University Press, 2016), 224 pages, ISBN: 978 03002 18589, $25.
Commemorating the fiftieth anniversary of the National Historic Preservation Act, a critique of the preservation movement—and a bold vision for its future
Every day, millions of people enter old buildings, pass monuments, and gaze at landscapes unaware that these acts are possible only thanks to the preservation movement. As we approach the October 2016 anniversary of the United States National Historic Preservation Act, historian Max Page offers a thoughtful assessment of the movement’s past and charts a path toward a more progressive future.
Page argues that if preservation is to play a central role in building more-just communities, it must transform itself to stand against gentrification, work more closely with the environmental sustainability movement, and challenge societies to confront their pasts. Touching on the history of the preservation movement in the United States and ranging the world, Page searches for inspiration on how to rejuvenate historic preservation for the next fifty years. This illuminating work will be widely read by urban planners, historians, and anyone with a stake in the past.
Max Page is a professor of architecture and history at the University of Massachusetts Amherst, author of The City’s End: Two Centuries of Fantasies, Fears, and Premonitions of New York’s Destruction, and winner of the Spiro Kostof Award from the Society of Architectural Historians, a Guggenheim Fellowship and the Rome Prize. He lives in Amherst, MA.
Available from Oakeley Books:
Alan Humphries, Henry Oakeley, and Victor Hoffbrand, English Delftware Apothecary Jars and Their Contents: The Victor Hoffbrand Collection (London: Oakley Books, 2017), ISBN: 978 0952 146131 (hardcover), £20 / ISBN: 978 0952 146148 (softcover), £12.
This collection of apothecary jars—used for storing medicines and their ingredients—comprises 183 items, dating from the 1640s to 1745. Collected by Professor Victor Hoffbrand, FRCP, it is the largest privately owned collection of English delftware apothecary jars in the United Kingdom. The fascination with English tin-glazed or delftware apothecary jars lies in their hand-painted designs and drug labels, in the composition and therapeutic uses of the drugs they contained, in the individual apothecaries who owned them, and in the potteries that manufactured them. The beauty of the jars’ designs may have helped to convince customers of the efficacy of their contents in treating and possibly curing diseases. For those interested in ceramics or the history of plant-based medicines, this sourcebook is complete with bibliographies, biographies, and glossaries of technical terms and materia medica.
Victor Hoffbrand is a professor of haematology. His collection of nearly 200 English delftware jars is now the second largest in the world and can be seen at the Royal College of Physicians in London.
Alan Humphries is a librarian at the Thackray Medical Museum in Leeds. He is responsible for the museum’s collections of over 10,000 books and 15,000 trade catalogues. To date he has located 2,419 English apothecary jars and has made their study his special interest.
Henry Oakeley is a garden fellow at the RCP. From contemporary pharmacopoeias, he has identified the 135 different medicines that the Hoffbrand apothecary jars contained and the plants (from Acorus to Zedoary), snakes, birds, and minerals that were used to manufacture those medicines.
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Book Launch: English Delftware Apothecary Jars
Royal College of Physicians, London, Thursday, 30 March 2017, 6:30–8:30
The evening begins with refreshments and a welcome by former RCP president Sir Richard Thompson. Short talks by Victor Hoffbrand, Alan Humphries, and Henry Oakeley will be followed by questions from the audience and a book signing. Copies of the book will be available to purchase (hardback £20, softback £12). Please RSVP to firstname.lastname@example.org by Friday, 24 March.
From UNM Press:
Kelly Donahue-Wallace, Jerónimo Antonio Gil and the Idea of the Spanish Enlightenment (Albuquerque: University of New Mexico Press, 2017), 392 pages, ISBN: 978 08263 57342, $65.
Examining the career of a largely unstudied eighteenth-century engraver, this book establishes Jerónimo Antonio Gil, a man immersed within the complicated culture and politics of the Spanish empire, as a major figure in the history of both Spanish and Mexican art. Donahue-Wallace examines Gil as an artist, tracing his education, entry into professional life, appointment to the Mexico City mint, and foundation of the Royal Academy of the Three Noble Arts of San Carlos. She analyzes the archival and visual materials he left behind; and, most importantly, she considers the ideas, philosophies, and principles of his era, those who espoused them, and how Gil responded to them. Although frustrated by resistance from the faculty and colleagues he brought to his academy, Gil would leave a lasting influence on the Mexican art scene as local artists continued to benefit from his legacy at the Mexican academy.
Kelly Donahue-Wallace is professor of art history at the University of North Texas. She is the author of Art and Architecture of Viceregal Latin America, 1521–1821 (UNM Press).
From Anthem Press:
Mary-Ann Constantine and Nigel Leask, eds., Enlightenment Travel and British Identities: Thomas Pennant’s Tours of Scotland and Wales (London: Anthem Press, 2017), 250 pages, ISBN: 978 17830 86535, £70 / $115.
Thomas Pennant of Downing, Flintshire (1726–1798), naturalist, antiquarian and self-styled ‘Curious Traveller’, published accounts of his pioneering travels in Scotland and Wales to wide acclaim between 1769 and 1784, directly inspiring Dr Johnson, James Boswell and hundreds of subsequent tourists. A keen observer and cataloguer of plants, birds, minerals and animals, Pennant corresponded with a trans-continental network of natural scientists (Linnaeus, Simon Pallas, Joseph Banks, Gilbert White) and was similarly well-connected with leading British antiquarians (William Borlase, Francis Grose, Richard Gough). Frequently cited as witness or authority across a wide range of disciplines, Pennant’s texts have seldom been themselves the focus of critical attention. There is as yet no biography of Pennant, nor any edition of his prolific correspondence with many of the leading minds of the European Enlightenment.
The ‘Tours’ were widely read and much imitated. As annotated copies reveal, readers were far from passive in their responses to the text, and ‘local knowledge’ would occasionally be summoned to challenge or correct them. But Pennant indisputably helped bring about a richer, more complex understanding of the multiple histories and cultures of Britain at a time when ‘Britishness’ was itself a fragile and developing concept. Because the ‘Tours’ drew on a vast network of informants (often incorporating material wholesale), they are, as texts, fascinatingly multi-voiced: many of the period’s political tensions run through them.
This volume of eleven essays seeks to address the comparative neglect of Pennant’s travel writing by bringing together researchers from literary criticism, art history, Celtic studies, archaeology and natural history. Attentive to the visual as well as textual aspects of his topographical enquiries, it demonstrates how much there is to be said about the cross-currents (some pulling in quite contrary directions) in Pennant’s work. In so doing they rehabilitate a neglected aspect of the Enlightenment in relation to questions of British identity, offering a new assessment of an important chapter in the development of domestic travel writing.
Mary-Ann Constantine is Senior Research Fellow at the University of Wales Centre for Advanced Welsh and Celtic Studies. She has written widely on the Romantic period in Wales and Brittany.
Nigel Leask is Regius Chair in English Language and Literature at the University of Glasgow. He divides his time between Glasgow, the West Highlands, and Mexico.
C O N T E N T S
List of Figures and Plates
List of Abbreviations
Introduction: Thomas Pennant, Curious Traveller — Mary-Ann Constantine and Nigel Leask
1 ‘A round jump from ornithology to antiquity’: The Development of Thomas Pennant’s Tours — R. Paul Evans
2 Thomas Pennant: Some Working Practices of an Archaeological Travel-Writer in Late Eighteenth-Century Britain — C. Stephen Briggs
3 Heart of Darkness: Thomas Pennant and Roman Britain — Mary-Ann Constantine
4 Constructing Identities in the Eighteenth Century: Thomas Pennant and the Early Medieval Sculpture of Scotland and England — Jane Hawkes
5 Shaping a Heroic Life: Thomas Pennant on Owen Glyndwr — Dafydd Johnston
6 ‘The First Antiquary of his Country’: Robert Riddell’s Extra-Illustrated and Annotated Volumes of Thomas Pennant’s Tours in Scotland — Ailsa Hutton and Nigel Leask
7 ‘A galaxy of the blended lights’: The Reception of Thomas Pennant — Elizabeth Edwards
8 ‘As if created by fusion of matter after some intense heat’: Pioneering Geological Observations in Thomas Pennant’s Tours of Scotland — Tom Furniss
9 Geological Landscape as Antiquarian Ruin: Banks, Pennant and the Isle of Staffa — Allison Ksiazkiewicz
10 Pennant, Hunter, Stubbs and the Pursuit of Nature — Helen McCormack
11 Pennant’s Legacy: The Popularization of Natural History through Botanical Touring and Observation in Nineteenth-Century Wales — Caroline R. Kerkham
Short Bibliography of Thomas Pennant’s Tours in Scotland and Wales
Constructed between 1848 and 1884—precisely when Mount Vernon was being preserved as a crucial part of America’s history—the obelisk at 555 feet high remains the tallest stone structure in the world. From Bloomsbury:
John Steele Gordon, Washington’s Monument and the Fascinating History of the Obelisk (New York: Bloomsbury, 2016), 224 pages, ISBN: 978 1620 406502, $27.
Conceived soon after the American Revolution ended, the great monument to George Washington was not finally completed until almost a century later; the great obelisk was finished in 1884, and remains the tallest stone structure in the world at 555 feet. The story behind its construction is a largely untold and intriguing piece of American history, which acclaimed historian John Steele Gordon relates with verve, connecting it to the colorful saga of the ancient obelisks of Egypt.
Nobody knows how many obelisks were crafted in ancient Egypt, or even exactly how they were created and erected since they are made out of hard granite and few known tools of the time were strong enough to work granite. Generally placed in pairs at the entrances to temples, they have in modern times been ingeniously transported around the world to Istanbul, Paris, London, New York, and many other locations. Their stories illuminate that of the Washington Monument, once again open to the public following earthquake damage, and offer a new appreciation for perhaps the most iconic memorial in the country.
John Steele Gordon is one of America’s leading historians, especially in the realm of business and financial history. He is the author of The Scarlet Woman of Wall Street, Hamilton’s Blessing, A Thread Across the Ocean, An Empire of Wealth, and The Great Game. He has written for Forbes, Worth, The New York Times, and The Washington Post, and his columns appear regularly in The Wall Street Journal. He lives in North Salem, New York.
From Princeton UP:
Craig Clunas, Chinese Painting and Its Audiences (Princeton: Princeton University Press, 2017), 320 pages, ISBN: 978 0691 171937, $60 / £50.
What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.
Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting. Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.
Craig Clunas is Professor of the History of Art at the University of Oxford. His books include Screen of Kings: Royal Art and Power in Ming China; Empire of Great Brightness: Visual and Material Culture and Social Status in Early Modern China; and Art in China.
C O N T E N T S
1 Beginning and Ending
2 The Gentleman
3 The Emperor
4 The Merchant
5 The Nation
6 The People
Photography and Copyright Credits
Installation view of the exhibition Good Hope: South Africa and The Netherlands from 1600 at the Rijksmuseum in Amsterdam, 14 February 2017; photo by Olivier Middendorp.
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Now on view at the Rijksmuseum:
Good Hope: South Africa and the Netherlands from 1600
Rijksmuseum, Amsterdam, 17 February — 21 May 2017
Curated by Martine Gosselink
The arrival of the Dutch changed South Africa forever. The population’s composition and the introduction of slavery by the VOC (the Dutch East India Company) resulted from ties with the Netherlands. But this also applies to the language, Afrikaans, the legal system, the protestant church, the introduction of Islam, the typical façades, and Dutch names on the map. The relationship with South Africa also changed the Netherlands. The Boer Wars around 1900, countless ‘Transvaal districts’ in Dutch cities, and the violent anti-apartheid struggle of the 1980s symbolise a continuously tempestuous relationship. In this exhibition, around 300 paintings, drawings, documents, photos, items of furniture, souvenirs, tools, and archaeological discoveries give a vivid impression of the culture shared and the influence reciprocated by the two countries.
Robert Jacob Gordon’s landscape panoramas, several metres long, occupy a prominent place in the exhibition. This Dutch traveller illustrated 18th-century South Africa, giving the country an identity. The imposing portraits of children born after 1994—when apartheid was abolished—by the South African photographer Pieter Hugo illustrate South Africa’s future. Along with the exhibition, the NTR (Dutch public-service broadcaster) will be broadcasting a seven-part TV series presented by Hans Goedkoop. The exhibition is produced under the directions of Martine Gosselink, Head of the History Department at the Rijksmuseum.
“The Good Hope exhibition illustrates a significant aspect of Dutch colonial history in all its nuances—a tale that is both painful and striking, but more especially disturbing and recognisable.”
–Adriaan van Dis, Dutch writer, Africa specialist, and the exhibition’s narrator
Symposium—Good Hope for a New Generation: Reflections on Diversity and Change in South Africa and the Netherlands, 5 April 2017
The aim of this symposium is for the Dutch and South Africans to learn from each other in building an open and diverse nation where talents can develop. For this symposium, two South African speakers are invited to reflect on the past and especially on the future of the new generation.
Martine Gosselink, Maria Holtrop, and Robert Ross, eds., Good Hope: South Africa and the Netherlands from 1600 (Amsterdam: Rijksmuseum, 2017), 376 pages, ISBN: 978 94600 43130, €35.
A richly illustrated book accompanies the exhibition, containing 56 contributions from 26 authors from the fields of literature, language, art history, archaeology, politics, and journalism.
New Bloomsbury Academic Book Series: The Material Culture of Art
Series Editor: Michael Yonan, University of Missouri
The Material Culture of Art is devoted to scholarship that brings art history into dialogue with interdisciplinary material culture studies. The material components of an object—its medium and physicality—are key to understanding its cultural significance. Material culture has stretched the boundaries of art history and emphasized new points of contact with other disciplines, including anthropology, archaeology, consumer and mass culture studies, the literary movement called ‘Thing Theory’, and materialist philosophy. The Material Culture of Art seeks to publish studies that explore the relationship between art and material culture in all of its complexity. The series is a venue for scholars to explore specific object histories (or object biographies, as the term has developed), studies of medium, and the procedures for making works of art and investigations of art’s relationship to the broader material world that comprises society. It seeks to be the premiere venue for publishing the growing scholarship about works of art as exemplifications of material culture.
The series encompasses material culture in its broadest dimensions, including the decorative arts (furniture, ceramics, metalwork, textiles), everyday objects of all kinds (toys, machines, musical instruments), and studies of the familiar high arts of painting and sculpture. The series welcomes proposals for monographs, thematic studies, and edited collections.
Please direct inquiries and proposals to both Michael Yonan, series editor, email@example.com, and Margaret Michniewicz, Visual Arts Acquisitions Editor, Margaret.Michniewicz@bloomsbury.com.
Series Advisory Board
Wendy Bellion, University of Delaware
Claire Jones, University of Birmingham
Stephen McDowall, University of Edinburgh
Amanda Phillips, University of Virginia
John Potvin, Concordia University, Canada
Stacey Sloboda, Southern Illinois University
Kristel Smentek, MIT
Robert Wellington, Australian National University
From Princeton UP:
Michel Pastoureau, Red: The History of a Color (Princeton: Princeton University Press, 2017), 216 pages, ISBN: 978 06911 72774, $40 / £33.
The color red has represented many things, from the life force and the divine to love, lust, and anger. Up through the Middle Ages, red held a place of privilege in the Western world. For many cultures, red was not just one color of many but rather the only color worthy enough to be used for social purposes. In some languages, the word for red was the same as the word for color. The first color developed for painting and dying, red became associated in antiquity with war, wealth, and power. In the medieval period, red held both religious significance, as the color of the blood of Christ and the fires of Hell, and secular meaning, as a symbol of love, glory, and beauty. Yet during the Protestant Reformation, red began to decline in status. Viewed as indecent and immoral and linked to luxury and the excesses of the Catholic Church, red fell out of favor. After the French Revolution, red gained new respect as the color of progressive movements and radical left-wing politics.
In this beautifully illustrated book, Michel Pastoureau, the acclaimed author of Blue, Black, and Green, now masterfully navigates centuries of symbolism and complex meanings to present the fascinating and sometimes controversial history of the color red. Pastoureau illuminates red’s evolution through a diverse selection of captivating images, including the cave paintings of Lascaux, the works of Renaissance masters, and the modern paintings and stained glass of Mark Rothko and Josef Albers.
Michel Pastoureau is a historian and director of studies at the École Pratique des Hautes Études de la Sorbonne in Paris. A specialist in the history of colors, symbols, and heraldry, he is the author of many books, including Green, Black, and Blue (all Princeton) and The Devil’s Cloth: A History of Stripes. His books have been translated into more than thirty languages.
From Princeton UP:
Michael Lewis, City of Refuge: Separatists and Utopian Town Planning (Princeton: Princeton University Press, 2016), 256 pages, ISBN: 978 0691 171814, $45 / £38.
The vision of Utopia obsessed the nineteenth-century mind, shaping art, literature, and especially town planning. In City of Refuge, Michael Lewis takes readers across centuries and continents to show how Utopian town planning produced a distinctive type of settlement characterized by its square plan, collective ownership of properties, and communal dormitories. Some of these settlements were sanctuaries from religious persecution, like those of the German Rappites, French Huguenots, and American Shakers, while others were sanctuaries from the Industrial Revolution, like those imagined by Charles Fourier, Robert Owen, and other Utopian visionaries.
Because of their differences in ideology and theology, these settlements have traditionally been viewed separately, but Lewis shows how they are part of a continuous intellectual tradition that stretches from the early Protestant Reformation into modern times. Through close readings of architectural plans and archival documents, many previously unpublished, he shows the network of connections between these seemingly disparate Utopian settlements—including even such well-known town plans as those of New Haven and Philadelphia.
The most remarkable aspect of the city of refuge is the inventive way it fused its eclectic sources, ranging from the encampments of the ancient Israelites as described in the Bible to the detailed social program of Thomas More’s Utopia to modern thought about education, science, and technology. Delving into the historical evolution and antecedents of Utopian towns and cities, City of Refuge alters notions of what a Utopian community can and should be.
Michael J. Lewis is the Faison-Pierson-Stoddard Professor of Art History at Williams College. His books include Frank Furness: Architecture and the Violent Mind, The Gothic Revival, and American Art and Architecture. His essays and reviews have appeared in such publications as The Wall Street Journal and The New York Times.
C O N T E N T S
1 The Idea of the City of Refuge
2 The Sacred Squareness of Cities
3 The Protestant Tempering of Utopia
5 The Lord’s Grove