New Book | European Fans: The Untold Story

Posted in books by Editor on August 9, 2022

From Scala:

Hahn Eura Eunkyung, European Fans: The Untold Story (London: Scala Arts Publishers, 2022), 248 pages, ISBN: 978-1785514128, £15 / $21.

Showcasing more than 60 carefully selected fans from a collection of over 1000, this is the first in a series of publications from the Eurus Collection, now available in English for the first time.

Throughout history, fans have had numerous roles: personal items to cool the user, tools for religious and ceremonial events, symbols of royal power and authority or important fashion accessories. As practical, symbolic and decorative objects, they are the meeting point of multiple arts. This book focuses on European fans made in the French Rococo style in the eighteenth century and the Rococo Revival style that emerged in the nineteenth century. Sixty-six superb examples, selected from the Eurus Collection in South Korea, offer a glimpse into the lives of European royalty and aristocracy, including their aesthetic preferences, ideals and views on nature, and demonstrate the intermingling of cultures in the newly emerging painting and craft styles which resulted from trade between Europe and the East. This beautifully illustrated book explores the fans’ thematic and stylistic aspects as well as their assembly and production and invites the reader to discover their untold stories.

The Eurus Collection, under the direction of Hahn Eura Eunkyung, is a sister institution of Hwajeong Museum in Seoul. With more than one thousand fans from all over the world, the Eurus Collection is the second largest of its kind in the world (after The Fan Museum in London) and the largest in Asia.

Hahn Eura EunKyung is the founder and director of Eurus Collection. Most of Eurus Collection’s artefacts were collected by her late father, Dr Hahn Kwang-ho CBE, who was one of the key contributors to the establishment of The Korea Foundation Gallery at the British Museum. Director Hahn’s research interests are in the field of conservation studies and the history of cultural artefacts.

HaYoung Joo is an assistant professor of art theory and criticism at the School of Arts, Chonnam National University, Korea.

H-France Forum 17.5 (2022) | Anne Lafont’s L’art et la race

Posted in books, journal articles, reviews by Editor on August 8, 2022

The latest issue of H-France Forum, edited by Melissa Hyde, is dedicated to Anne Lafont’s L’art et la race. Melissa notes that since she is issue editor for H-France Forum in art history, we can expect to see one issue a year devoted to a recent book in French art history. She welcomes suggestions. And with some 4000 subscribers, H-France is a great place to make art history more visible. So, send her your ideas! CH

H-France Forum 17.5 (2022)
Issue edited by Melissa Hyde, University of Florida

Anne Lafont, L’art et la race : l’Africain (tout) contre l’œil des Lumières (Dijon: Les presses du réel, 2019).

Review Essays
• Christy Pichichero, George Mason University
• Andrew Curran, Wesleyan University
• Zirwat Chowdhury, University of California, Los Angeles
• Charlotte Guichard, CNRS and Ecole Normale Supérieure

Response Essay
• Anne Lafont, EHESS

All essays are available here»

Call for Essays | The Académie Royale Art Collection

Posted in books, Calls for Papers by Editor on August 2, 2022

From ArtHist.net:

The Académie Royale Art Collection
Proposals due by  30 September 2022; selected contributions will be due 31 March 2023

Our book aspires to highlight the importance of the art collection that the Académie royale de peinture et de sculpture assembled in the century and a half of its existence (1648–1793) and show that this unique, yet almost entirely unstudied, body of works is essential to our understanding of eighteenth-century art and institutional practices.

The Académie royale art collection consisted mainly of reception pieces—the works that young artists submitted for examination by the academic jury to become full members of the institution. It also included miscellaneous donated artworks as well as portraits of the Académie’s patrons that the institution frequently commissioned from current members. Around 300 paintings and some 30 sculptures were on display in the Académie’s rooms at the Louvre and daily surrounded the artists who lived and worked there. The latter could also consult a rich collection of engravings at the Académie’s print room.

The collection was a unique corpus for multiple reasons. Firstly, as almost all the prominent old regime artists were members of the Académie royale, it united such iconic reception pieces as Watteau’s Pilgrimage to the Isle of Cythera (1717), Chardin’s Ray (1728), and Greuze’s Septimius Severus and Caracalla (1769). Secondly, these and other examinational works now offer invaluable insights into academic reception practices and aesthetic values as much as the commissioned portraits of the Académie’s patrons—into its behind-the-scenes personal networks. Finally, the hang of the works in the Louvre is an outstanding example of eighteenth-century curatorial work: since the collection’s arrangement was decided upon by academicians themselves, it stands an important ‘internal’ counterpart to the Académie’s public display, the Salons.

After the French Revolution, this one-of-a-kind body of works got dispersed and is shared today by the Louvre, the Versailles, the ENSBA, and several French regional museums. Thankfully, however, two detailed descriptions are still extant: in 1715, when the collection was housed on the Louvre’s ground floor, it was documented by Nicolas Guérin (Paris: J. Collombat), and in 1781, when it moved to the first floor, it was recorded by Antoine-Nicolas Dezallier d’Argenville (Paris: De Bure). In 1893, the two descriptions were republished as one volume by Anatole de Montaiglon. Two key critical works on the collection are the exhibition catalogue Les peintres du roi, 1648–1793 (Paris: Réunion des musées nationaux, 2000) and Hannah Williams’s monograph Académie Royale: A History in Portraits (Farnham: Ashgate, 2015).

The present book is part of the project run by the DFK Paris in collaboration with the Centre Dominique-Vivant Denon (Louvre) and the INHA that aspires to reconstruct the collection digitally and build a database of the works that constituted it.

We invite contributions that define the role of the Académie royale art collection and discuss its history and arrangement. Issues of our interest include but are not limited to:
• Collection arrangement: How did the hangs of the collection on the first and the ground floor of the Louvre differ? What were the guiding principles of the collection’s arrangement? What role did genre play in it? What was the function of different rooms and how did the works adorning the room reflect it? Did the arrangement reflect the Académie’s institutional hierarchy? How did prints, sculptures, and paintings that formed the collection work together?
• Instructive function of the collection: How did these sculptures, paintings, and prints, seen by the Académie’s students on day-to-day basis, influence their work? What message (if any) did they convey?
• Reception pieces: What role did the reception play in the artist’s career? What was the canon of academic reception pieces? How did it help crystallise the academic genre classification?
• Commissioned portraits: Who were the Académie’s patrons whose portraits the institution commissioned from its members? What role did these patrons play in the history of the Académie royale? How were they related to each other and what was their specific interest in sponsoring the institution?
• Conférences de l’Académie royale: How do the lectures that the members regularly delivered at the Académie royale relate to the collection? How do both reflect the Académie’s institutional and aesthetic values? What is the significance of the Salle d’Assemblée as the centre of the institutional life of the Académie royale?
Dispersal of the collection: How were the works constituting the collection distributed after the French Revolution? What were the unique stories of these paintings, prints, and sculptures post-1793?

Contributions are welcome in English or French and are expected to be between 5,000 and 15,000 words in length. If you are interested, please send a short 300-word abstract and a brief 50-word biography to Sofya Dmitrieva sofya.k.dmitrieva@gmail.com by 30 September 2022. The deadline for selected contributions will be 31 March 2023.

New Book | Baroque Prague

Posted in books by Editor on July 31, 2022

The Czech edition appeared in 2017:

Vít Vlnas, Baroque Prague, translated by Derek Paton (Prague: Karolinum Press, Charles University, 2022), 330 pages, ISBN: ‎ 978-8024643762, $30.

Baroque Prague is a lavish excursion through Prague’s important baroque period, beginning with the defeat of Czech Protestants at the Battle of White Mountain in 1620 and ending with the philosophical era of Enlightenment in the eighteenth century. In this book, Vit Vlnas explores both the material and spiritual transformations the city went through during this boisterous period, treating the baroque epoch as a cultural phenomenon vital to the current genius loci of the great Central European capital. Vlnas guides readers through the city from Prague Castle to the Lesser Town, Old Town, and New Town, as well as Vyšehrad, the important historic fortress. In a special section, he takes us to equally important baroque monuments outside of the historical city center. Lushly illustrated with over 200 color plates, including both historical images and contemporary photographs of architectural exteriors, the text is accompanied by helpful maps indicating the location of the monuments, as well as a glossary of prominent figures during the period. Both a highly readable introductory study and a work for experienced scholars of the history of Bohemia, Baroque Prague is an exciting homage to Europe’s great ‘city of a hundred spires’, and shows how a place’s storied past informs its present soul.

Vít Vlnas is head of the Institute of Christian Art History at Charles University and head of the Center for Humanistic Studies at the Moravian Museum.

New Book | The Historic Heart of Oxford University

Posted in books by Editor on July 28, 2022

Distributed by The University of Chicago Press:

Geoffrey Tyack, The Historic Heart of Oxford University (Oxford: Bodleian Library Publishing, 2022), 192 pages, ISBN: 978-1851245284, $55.

Over eight centuries, the University of Oxford—the third oldest university in Europe—gradually came to occupy a substantial portion of the city, creating in the process a unique townscape containing the Bodleian Library, the Sheldonian Theatre, and the Radcliffe Camera. This book tells the story of the growth of the forum universitatis, as the architect Nicholas Hawksmoor called it, and relates it to the broader history of the University and the city. Based on up-to-date scholarship, The Historic Heart of Oxford University draws upon the author’s research into Oxford’s architectural history and the work of Christopher Wren, Nicholas Hawksmoor, James Gibbs, and Giles Gilbert Scott. Each of the eight chapters focuses on the gestation, creation, and subsequent history of a single building or pair of buildings, relating them to developments in the University’s intellectual and institutional life, and to broader themes in architectural and urban history.

Accessible and well-illustrated with plans, archival prints, and specially commissioned photography, this book will appeal to anyone who wishes to understand and enjoy Oxford’s matchless architectural heritage.

Geoffrey Tyack is an emeritus Fellow of Kellogg College, University of Oxford, and President of the Oxfordshire Architectural and Historical Society.


1  The University Church and the Congregation House
2  The Divinity School and the Duke Humfrey’s Library
3  The Schools Quadrangle
4  The Sheldonian Theatre
5  The Old Ashmolean Museum
6  The Clarendon Building
7  The Radcliffe Camera and Radcliffe Square
8  The New Bodleian and the Weston Library

Further Reading
Picture Credits

New Book | English Garden Eccentrics

Posted in books by Editor on July 24, 2022

From Yale UP:

Todd Longstaffe-Gowan, English Garden Eccentrics: Three Hundred Years of Extraordinary Groves, Burrowings, Mountains, and Menageries (London: Pual Mellon Centre, 2022), 400 pages, ISBN: 978-1913107260, $40.

In his new book, English Garden Eccentrics, renowned landscape architect and historian Todd Longstaffe-Gowan reveals a series of obscure and eccentric English garden-makers who, between the early seventeenth and the early twentieth centuries, created intensely personal and idiosyncratic gardens. They include such fascinating characters as the superstitious antiquary William Stukeley and the animal- and bird-loving Lady Read, as well as the celebrated master of Vauxhall Gardens, Jonathan Tyers, who created at his home at Denbies one of the gloomiest and most perverse anti-pleasure gardens in Georgian England. Others built miniature mountains, shaped topiaries, displayed exotic animals, excavated caves, and assembled architectural fragments and fossils to realise their gardens in a way that was often thought to be excessive.

With quirky and compelling illustrations and chapters including “Lady Broughton’s ‘Miniature Copy of the Swiss Glaciers’,” “Topiary on a Gargantuan Scale: The Clipped ‘Yew-trees’ at Four Ancient London Churchyards,” and “The Burrowing Duke at Harcourt House,” English Garden Eccentrics brings together garden and landscape history with cultural history and biography. The book engagingly reveals what it is about the gardener and his or her creation that can be seen as eccentric and focuses on an area of garden history that has scarcely been previously explored: gardens seen as expressions of the singular character of their makers, and therefore functioning, in effect, as a form of autobiography. This lively and accessible book calls on gardeners today to learn from example and dare to be eccentric.

Todd Longstaffe-Gowan is a landscape architect with an international practice based in London. He is gardens adviser to Historic Royal Palaces, lecturer at New York University (London), president of the London Gardens Trust, editor of The London Gardener, and author of several books including The London Town Garden (Yale, 2001) and The London Square (Yale, 2012).


New Book | The Invention of the Colonial Americas

Posted in books by Editor on July 18, 2022

From The Getty:

Byron Ellsworth Hamann, The Invention of the Colonial Americas: Data, Architecture, and the Archive of the Indies, 1781–1844 (Los Angeles, Getty Research Institute, 2022), 328 pages, ISBN: 978-1606067734, $60.

The story of Seville’s Archive of the Indies reveals how current views of the sixteenth and seventeenth centuries are based on radical historical revisionism in Spain in the late 1700s.

The Invention of the Colonial Americas is an architectural history and media-archaeological study of changing theories and practices of government archives in Enlightenment Spain. It centers on an archive created in Seville for storing Spain’s pre-1760 documents about the New World. To fill this new archive, older archives elsewhere in Spain—spaces in which records about American history were stored together with records about European history—were dismembered. The Archive of the Indies thus constructed a scholarly apparatus that made it easier to imagine the history of the Americas as independent from the history of Europe, and vice versa.

In this meticulously researched book, Byron Ellsworth Hamann explores how building layouts, systems of storage, and the arrangement of documents were designed to foster the creation of new knowledge. He draws on a rich collection of eighteenth-century architectural plans, descriptions, models, document catalogs, and surviving buildings to present a literal, materially precise account of archives as assemblages of spaces, humans, and data—assemblages that were understood circa 1800 as capable of actively generating scholarly innovation.

Byron Ellsworth Hamann is an associate professor of art history at Ohio State University. His research is focused on the art and writing of pre-Hispanic Mesoamerica, as well as on the connections linking the Americas and Europe in the early modern Mediterratlantic world.

New Book | New World Objects of Knowledge

Posted in books by Editor on July 16, 2022

Distributed by The University of Chicago Press:

Mark Thurner and Juan Pimentel, eds., New World Objects of Knowledge: A Cabinet of Curiosities (London: University of London Press, 2021), 350 pages, ISBN: 978-1908857828, $75.

From the late fifteenth century to the present day, countless explorers, conquerors, and other agents of empire have laid siege to the New World, plundering and pilfering its most precious artifacts and treasures. Today, these natural and cultural products—which are key to conceptualizing a history of Latin America—are scattered in museums around the world. With contributions from a renowned set of scholars, New World Objects of Knowledge delves into the hidden histories of forty of the New World’s most iconic artifacts, from the Inca mummy to Darwin’s hummingbirds. This volume is richly illustrated with photos and sketches from the archives and museums hosting these objects. Each artifact is accompanied by a comprehensive essay covering its dynamic, often global, history and itinerary. This volume will be an indispensable catalog of New World objects and how they have helped shape our modern world.

Mark Thurner is professor of Latin American studies at the University of London. His books include The First Wave of Decolonization and History’s Peru: The Poetics of Colonial and Postcolonial Historiography. Juan Pimentel is research professor in the history of science at the Centro de Ciencias Humanas y Sociales, CSIC, Madrid. He is the author of many books, including The Rhinoceros and the Megatherium: An Essay in Natural History.


Introduction by Mark Thurner and Juan Pimentel

Part 1: Artificialia

1  Codex Mendoza by Daniela Bleichmar
2  Macuilxochitl by Juan Pimentel
3  Potosi by Kris Lane
4  Piece of Eight by Alejandra Irigoin and Bridget Millmore
5  Pieza de Indias by Pablo Gomez
6  Rubber by Heloisa Maria Bertol Domingues and Emilie Ana Carreón Blaine
7  Silver Basin by Mariana Francozo
8  Feathered Shield by Linda Baez
9  Black by Adrian Masters
10  Cards by Jorge Canizares Esguerra
11  Mary’s Armadillo by Peter Mason
12  Mexican Portrait by Andrés Gutiérrez Usillos
13  Clay Vessel by Jorge Canizares-Esguerra
14  Singing Violin by Jorge Canizares Esguerra
15  Creole Cabinet by Juan Pimentel and Mark Thurner
16  Modern Quipu by Sabine and William Hyland
17  Memory Palaces by Jorge Canizares-Esguerra
18  Inca Mummy by Christopher Heaney
19  Xilonen by Miruna Achim
20  Machu Picchu by Amy Cox-Hall

Part 2: Naturalia

21  Amazon by Roberto Chauca
22  Bird of Paradise by Jose Ramon Marcaida
23  Emeralds by Kris Lane
24  Pearls by Jorge Canizares Esguerra
25  Cochineal by Miruna Achim
26  Opossum by Jose Ramon Marcaida
27  Guinea Pig by Helen Cowie
28  Bezoar by Jose Pardo-Tomas
29  Cacao by Peter Mason
30  Strawberry by Elisa and Ana Sevilla
31  Volcano by Sophie Brockmann
32  Andes by Mark Thurner and Jorge Canizares-Esguerra
33  Anteater by Helen Cowie
34  Megatherium by Juan Pimentel
35  Tapir by Irina Podgorny
36  Cinchona by Matthew Crawford
37  Potato by Rebecca Earle
38  Guano by Gregory Cushman
39  Tortoise by Elizabeth Hennessey
40  Darwin’s Hummingbird by Iris Montero

José Ignacio de Lequanda and Louis Thiébaut, Quadro de Historia Natural, Civil y Geográfica del Reyno del Perú, 1799, 331 × 119 cm (Madrid: Museo Nacional de Ciencias Naturales). This exceptional work presents 195 scenes and 381 figures describing the physical geography, the history, the ethnography, the fauna, and flora of the Peruvian Viceroyalty, via Google Arts & Culture.


New Book | Collectionner: Acteurs, Lieux, et Valeurs, 1750–1815

Posted in books by Editor on July 14, 2022

This collection of conference essays will not be commercially available, though copies will be distributed to select academic libraries; see the GRHAM website:

Ludovic Jouvet, Alice Ottazzi, and Maël Tauziède-Espariat, eds., Collectionner: Acteurs, Lieux, et Valeur(s), 1750–1815 (Paris: Editions du GRHAM, 2022, ISBN: 978-2955954621.

Le présent ouvrage réunit les actes du colloque organisé par le GRHAM (Groupe de Recherche en Histoire de l’art Moderne) et le Séminaire Collection les 26 et 27 octobre 2020. Dans une perspective interdisciplinaire innovante, les douze contributions questionnent la pratique du collectionnisme au tournant des XVIIIe et XIXe siècles. Alors que le rationalisme des Lumières, friand de taxinomie, a parfois entraîné une histoire simplifiée du collectionnisme, ces contributions soulignent au contraire la grande diversité des pratiques parallèlement à la normalisation de certains lieux, objets ou statuts du collectionneur.


• Une culture de la collection au XVIIIe siècle ? — Olivier Bonfait
• La réception de Jean Warin au XVIIIe siècle — Ludovic Jouvet
• Gendering Collecting, Collections, and Consumption in 18th-Century Paris — Natasha Shoory
• L’art britannique à Paris au XVIIIe siècle : le recueil gravé comme outil pour l’étude de la réception — Alice Ottazzi
• Collecting Landscape Drawings in 18th-Century Paris: Delectare and Docere — Camilla Pietrabissa
• Antiques et culture d’un amateur et financier parisien de la seconde moitié du XVIIIe siècle : le salon et la bibliothèque d’Harenc de Presle (1710–1802) — Maël Vandewalle
• La pratique de la collection chez le financier de la seconde moitié du XVIIIe siècle — Élodie Kong
• La restitution des biens étrangers sous le Consulat : politique et finance relatives à deux tableaux de Claude Lorrain — Christine Godfroy-Gallardo
• Le Goût des Anglais pour le Mobilier Français: Collectors, Dealers, and the Market, 1785–1815 — Diana Davis
• Redécouverte d’une collection particulière parisienne du XVIIIe siècle : le cabinet de Louis Petit de Bachaumont — Léo Davy
• Le médailliste du siècle des Lumières : entre érudition, prestige et sociabilité — Charlotte Rousset
• Perfide Albion ! Douce Angleterre ? Le collectionnisme d’antiques en temps de rivalité napoléonienne à travers l’exemple croisé de Lord Elgin et du comte de Choiseul-Gouffier — Odile Boubakeur
• Le cabinet d’objets d’art de Balthazar-Georges Sage : la découverte d’une collection entre cabinet particulier et musée au tournant de la Révolution — Maddalena Napolitani

Exhibition | Louis Gauffier’s Journey to Italy

Posted in books, exhibitions by Editor on July 13, 2022

Now on view at the Musée Fabre:

Le Voyage en Italie de Louis Gauffier (1762–1801)
Musée Fabre, Montpellier, 7 May — 4 September 2022
Musée Sainte-Croix de Poitiers, 14 October 2022 — 12 February 2023

Curated by Pierre Stepanoff

Cette exposition d’été au musée Fabre, organisée en collaboration avec le musée Sainte-Croix de Poitiers—où elle sera présentée du 14 octobre 2022 au 12 février 2023—est la première consacrée à la carrière de Louis Gauffier, peintre de la fin de XVIII e siècle.

Né à Poitiers en 1762, Louis Gauffier est de ces artistes européens pour qui l’Italie fut une terre d’élection. Vainqueur du Prix de Rome en 1784, il découvre la Ville Éternelle et ses vestiges, puis Florence et la Toscane à partir de 1793, jusqu’à son décès précoce en 1801.

Le peintre déploie son art aussi bien dans les sujets mythologiques que bibliques, les portraits et le paysage. À l’orée du XIX e siècle, il propose des formules nouvelles d’une grande originalité, intimes et poétiques, qui le distinguent de ses contemporains. Le charme singulier de ses toiles explique la riche représentation du peintre dans les musées français et internationaux, qui soutiennent par leur prêts l’exposition du musée Fabre : musée des Offices à Florence, Kenwood House à Londres, National Gallery of Scotland à Edimbourg, Nationalmuseum à Stockholm, Philadelphia Museum of Art, Minneapolis Art Institute, Fine Art Museums à San Francisco, National Gallery of Victoria à Melbourne.

C’est en Italie, à Rome puis à Florence, que Louis Gauffier et François-Xavier Fabre devinrent camarade et amis. Le soin avec lequel Fabre recueilli des œuvres de son ami après son décès précoce explique aujourd’hui la très belle représentation de Gauffier au musée de Montpellier, dont l’exposition permettra de découvrir la richesse de sa carrière.

L’exposition montre à travers des sections chronologiques et thématiques l’évolution de la carrière de Gauffier, aussi bien dans le langage néoclassique qu’il développe dans ses peintures d’histoire, marquées par une grande curiosité archéologique comme par un sentimentalisme doux, ou encore dans son goût novateur pour le paysage, mettant en scène l’aristocratie européenne du Grand Tour partant à la découverte de la Toscane.

Cette rétrospective mettra également l’artiste en perspective avec ses contemporains, qu’il s’agisse de ses camarades français, Drouais, Gagneraux et surtout Fabre, mais également avec le contexte artistique italien profondément marqué par des peintres issus de toute l’Europe et dans lequel s’inscrit Gauffier, notamment dans ses portraits et ses paysages. C’est à une véritable découverte de l’Italie du Grand Tour que le visiteur sera convié.

Pierre Stepanoff,, ed., Le voyage en Italie de Louis Gauffier (Ghent: Éditions Snoeck, 2022), 408 pages, ISBN: ‎978-9461615831, €39.

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