Enfilade

New Book | Romantic Legacies

Posted in books by Editor on April 19, 2019

From Routledge:

Shun-liang Chao and John Michael Corrigan, eds., Romantic Legacies: Transnational and Transdisciplinary Contexts (London: Routledge, 2019), 336 pages, ISBN: 978-0367076726, £115 / $145.

Romantic Legacies: Transnational and Transdisciplinary Contexts presents the most wide-ranging treatment of Romantic regenerations, covering the cross-pollination between the arts or between art and thought within or across the borders of Germany, Britain, France, the US, Russia, India, China, and Japan. Each chapter examines a legacy or afterlife in a comparative context to demonstrate ongoing Romantic legacies as fully as possible in their complexity and richness. The volume provides a lens through which to understand Romanticism not merely as an artistic heritage but as a dynamic site of intellectual engagement that crosses nations and time periods and entails no less than the shaping of our global cultural currents.

Shun-liang Chao is Associate Professor of English and Comparative Literature at National Chengchi University, Taiwan. He’s the author of Rethinking the Concept of the Grotesque: Crashaw, Baudelatire, Magritte (Legenda/Routledge, 2010) and co-editor of Humour in the Arts: New Perspectives (Routledge, 2018).

John Michael Corrigan is Associate Professor of English and Digital Humanities at National Chengchi University, Taiwan. He’s the author of American Metempsychosis: Emerson, Whitman, and the New Poetry (Fordham UP, 2012).

C O N T E N T S

Foreword, James Engell

Introduction, Shun-liang Chao and John Michael Corrigan

I. Realist Romanticism
1  Romantic Walking and Railway Realism, Rachel Bowlby
2  The Use and Abuse of Romance: Realist Revisions of Walter Scott in England, France, and Germany, Geoffrey Baker
3  Chekhov on the Meaning of Life: After Romanticism and Nihilism, Yuri Corrigan

II. Fin-de-Siècle Romanticism
4  Keats Gone Wilde: Wilde’s Romantic Self-Fashioning at the Fin de Siècle, Ya-Feng Wu
5  Delacroix, Signac, and the Aesthetic Revolution in Fin-de-siècle France, Shao-Chien Tseng
6  Mediating Richard Wagner and Henry Bishop: Frederick Corder and the Different Legacies of German and English Romantic Opera, David Chandler

III. (Post)Modern Romanticism
7  Platonism, Its Heirs, and the Last Romantic, Arthur Versluis
8  Vexed Meditation: Romantic Idealism in Coleridge and Its Afterlife in Bataille and Irigaray, Justin Prystash
9  ‘You have to be a transparent eyeball’: Transcendental Afterlives in Matthew Weiner’s Mad Men, John Michael Corrigan

IV. Environmental Romanticism
10  Tracing Romanticism in the Anthropocene: An Ecocritical Reading of Ludwig Tieck’s Rune Mountain, Caroline Schaumann
11  The Eye of the Earth: Nonhuman Vision from Blake to Contemporary Ecocriticism, Sophie Laniel-Musitelli
12  ‘Indistinctness is my forte’: Turner, Ruskin, and the Climate of Art, Carmen Casaliggi

V. Oriental Romanticism
13  ReOrienting Romanticism: The Legacy of Indian Romantic Poetry in English, Steve Clark
14  Grafting German Romanticism onto the Chinese Revolution: Goethe, Guo Morou, and the Pursuit of Self-Transcendence, Johannes Kaminski
15  Two Chinese Wordsworths: The Reception of Wordsworth in Twentieth-Century China, Li Ou
16  ‘The world must be made Romantic’: The Sentimental Grotesque in Tetsuya Ishida’s ‘Self-Portraits of Others’, Shun-liang Chao

Index

New Book | Restoration

Posted in books by Editor on April 18, 2019

The publication resulting from the 64th annual Mellon Lectures in the Fine Arts delivered at the National Gallery of Art in 2015 by Thomas Crow is now available from Princeton UP:

Thomas Crow, Restoration: The Fall of Napoleon in the Course of European Art, 1812–1820 (Princeton: Princeton University Press, 2018), 208 pages, ISBN: 978-0691181646, $40 / £30.

As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old.

Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time.

Beautifully illustrated, Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences. Published in association with the National Gallery of Art, Washington, D.C.

Thomas Crow is the Rosalie Solow Professor of Art History at the Institute of Fine Arts, New York University. His many books include Emulation: David, Drouais, and Girodet in the Art of Revolutionary France; The Long March of Pop: Art, Music, and Design 1930–1995; and No Idols: The Missing Theology of Art. He lives in New York City and in Old Saybrook, Connecticut.

 

New Book | Chinese Architecture: A History

Posted in books by Editor on April 10, 2019

From Princeton UP:

Nancy Shatzman Steinhardt, Chinese Architecture: A History (Princeton: Princeton University Press, 2019), 400 pags, ISBN: 978-0691169989, $65 / £50.

Throughout history, China has maintained one of the world’s richest built civilizations. The nation’s architectural achievements range from its earliest walled cities and the First Emperor’s vision of city and empire, to bridges, pagodas, and the twentieth-century constructions of the Socialist state. In this beautifully illustrated book, Nancy Shatzman Steinhardt presents the first fully comprehensive survey of Chinese architecture in any language. With rich political and historical context, Steinhardt covers forty centuries of architecture, from the genesis of Chinese building through to the twenty-first century and the challenges of urban expansion and globalism.

Steinhardt follows the extraordinary breadth of China’s architectural legacy—including excavation sites, gardens, guild halls, and relief sculpture—and considers the influence of Chinese architecture on Japan, Korea, Mongolia, and Tibet. Architectural examples from Chinese ethnic populations and various religions are examined, such as monasteries, mosques, observatories, and tombs. Steinhardt also shows that Chinese architecture is united by a standardized system of construction, applicable whether buildings are temples, imperial palaces, or shrines. Every architectural type is based on the models that came before it, and principles established centuries earlier dictate building practices. China’s unique system has allowed its built environment to stand as a profound symbol of Chinese culture.

With unprecedented breadth united by a continuous chronological narrative, Chinese Architecture offers the best scholarship available on this remarkable subject for scholars, students, and general readers.

Nancy Shatzman Steinhardt is professor of East Asian art and curator of Chinese art at the University of Pennsylvania. She has written, edited, or translated ten books, including China’s Early Mosques and Traditional Chinese Architecture: Twelve Essays (Princeton).

 

New Book | Ottoman Baroque

Posted in books by Editor on April 8, 2019

From Princeton UP:

Ünver Rüstem, Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul (Princeton: Princeton University Press, 2019), 336 pages, ISBN: 978-0691181875, $65 / £50.

With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque—the first English-language book on the topic—Unver Rustem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire’s capital.

Rüstem reclaims the label ‘Ottoman Baroque’ as a productive framework for exploring the connectedness of Istanbul’s eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style’s cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans’ entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire’s power at a time of intensified East-West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom.

Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history.

Ünver Rüstem is assistant professor of Islamic art and architecture at Johns Hopkins University.

C O N T E N T S

Acknowledgments
Notes on Captions, Transliterations, and Translations

Introduction
1  Setting the Scene: The Return to Istanbul
2  Pleasing Times and Their ‘Pleasing New Style’: Mahmud I and the Emergence of the Ottoman Baroque
3  A Tradition Reborn: The Nuruosmaniye Mosque and Its Audiences
4  The Old, the New, and the In-Between: Stylistic Consciousness and the Establishment of Tradition
5  At the Sultan’s Threshold: The Architecture of Engagement as New Imperial Paradigm
Conclusion

Notes
Bibliography
Index
Image Credits

 

New Book | Wallpapers at Temple Newsam

Posted in books by Editor on April 7, 2019

From John Sandoe Books in London, published by Leeds Art Fund:

Anthony Wells-Cole and Barbara Walker, Wallpapers at Temple Newsam: 1635 to the Present, Issue 3 of Leeds Art Studies (Leeds: Leeds Art Collections Fund, 2018), 367 pages, ISBN: 978-0954797959, £50.

Stunning, large format illustrated catalogue of the wallpapers at Temple Newsam, one of the few significant collections in this country. Though many rooms were damaged or stripped of their papers, an enormous amount of conservation work has been achieved over several decades. Not least, a new company—the now famous Zoffany & Co.—was created to make meticulous reproductions of some of the wallpapers based on fragments. The wall coverings at Temple Newsam date from about 1700 to the present day, including half a century of rather unsympathetic redecoration from the 1930s on. Most of the historic Temple Newsam wallpapers have been found since 1979 during structural repair works and during restoration of the house between 1980 and 2009.

Ros Byam Shaw supplies a review in the March 2019 issue of The World of Interiors, pp. 63–64.

Some rooms revealed a rich palimpsest of patterns, stuck one on top of the other—17 layers in one maid’s bedroom. In all, some 400 different wallpapers were discovered, the earliest dating back to the turn of the 18th century—or to 1635 if you count the pieces of embossed and gilded leather wall hanging found in a room once used as a chapel. This beautifully produced book is a catalogue of these papers, each photographed in colour, each with a provenance. . . . [After 1983 Temple Newsam] began to receive donations of wallpaper, most notably from the Burford antique dealer Roger Warner (WoI Jan 2009), including samples from the archive of his grandfather’s company, Jeffrey & Co. Sixty-four different papers came from another large house, Ashburnham Place in Sussex. At least half of the book is devoted to these and to pieces salvaged from private homes . . .

 

New Book | Hellenomania

Posted in books by Editor on April 6, 2019

From Routledge:

Katherine Harloe, Nicoletta Momigliano, and Alexandre Farnoux, eds., Hellenomania (New York: Routledge, 2018), 332 pages, ISBN: 978-1138243248, $150.

Hellenomania, the second volume in the MANIA series, presents a wide-ranging, multi-disciplinary exploration of the modern reception of ancient Greek material culture in cultural practices ranging from literature to architecture, stage and costume design, painting, sculpture, cinema, and the performing arts. It examines both canonical and less familiar responses to both real and imagined Greek antiquities from the seventeenth century to the present, across various national contexts. Encompassing examples from Inigo Jones to the contemporary art exhibition documenta 14, and from Thessaloniki and Delphi to Nashville, the contributions examine attempted reconstructions of an ‘authentic’ ancient Greece alongside imaginative and utopian efforts to revive the Greek spirit using modern technologies, new media, and experimental practices of the body. Also explored are the political resonances of Hellenomaniac fascinations, and tensions within them between the ideal and the real, the past, present, and future.

Part I examines the sources and derivations of Hellenomania from the Baroque and pre-Romantic periods to the early twentieth century. While covering more canonical material than the following sections, it also casts spotlights on less familiar figures and sets the scene for the illustrations of successive waves of Hellenomania explored in subsequent chapters. Part II focuses on responses, uses, and appropriations of ancient Greek material culture in the built environment—mostly architecture—but also extends to painting and even gymnastics; it examines in particular how a certain idealisation of ancient Greek architecture affected its modern applications. Part III explores challenges to the idealisation of ancient Greece, through the transformative power of colour, movement, and of reliving the past in the present human body, especially female. Part IV looks at how the fascination with the material culture of ancient Greece can move beyond the obsession with Greece and Greekness.

Katherine Harloe is Associate Professor of Classics and Intellectual History at the University of Reading. Her research specialisms are the history of classical scholarship and the reception of Greek and Roman antiquity in European (especially German) culture from the mid-eighteenth to the mid-twentieth centuries. In addition to numerous articles, she is author of Winckelmann and the Invention of Antiquity: History and Aesthetics in the Age of Altertumswissenschaft (2013) and co-editor of Thucydides and the Modern World: Reception, Reinterpretation, and Influence from the Renaissance to Today (2012).

Nicoletta Momigliano is Professor of Aegean Studies at the University of Bristol, specialising in Minoan archaeology and its reception. She has directed and co-directed several archaeological projects in Crete and Turkey, and has published many articles and book on Aegean subjects, including Cretomania: Modern Desires for the Minoan Past (2017, co-edited with Alexandre Farnoux) and Archaeology and European Modernity: Producing and Consuming the Minoans (2006, co-edited with Yannis Hamilakis).

Alexandre Farnoux is Professor of Archaeology and History of Art at the University of Paris IV (Sorbonne) and, since 2011, has been Director of the French School in Athens. He is an expert on the archaeology of Delos and especially of Crete, where he has directed excavations at Malia and Dreros. He has published many works on Greek and Aegean topics, including Cnossos, l’archéologie d’un rêve (1993) and Homère, le prince des poètes (2010).

C O N T E N T S

Hellenomanias from Early Modern to Modernism
1  Fiona Macintosh, Modern Stage Design and Greek Antiquity: Inigo Jones and His Greek Models
2  Katherine Harloe, Winckelmania: Hellenomania between Ideal and Experience
3  Richard Jenkyns, The British Reception of Greek Visual Culture in the Nineteenth and Twentieth Centuries

Ideal and Real Structures of Hellenomania
4  Frank Salmon, The Ideal and the Real in British Hellenomania, 1751–1851
5  Athena Leoussi, Making Everyone Greek: Citizens, Athletes, and Ideals of Nationhood in Nineteenth-Century Britain, France and, Germany
6  Lena Lambrinou, The Parthenon from the Greek Revival to the Modern Movement
7  David Watkin, The Greek Spirit: Current Architecture and Sculpture in England

Hellenomania Comes to Life: Colour, Movement, and the Body
8  Charlotte Ribeyrol, From Galatea to Tanagra: Victorian Translations of the Controversial Colours of Greek Sculpture
9  Pantelis Michelakis, ‘Grecian Dances’ and the Transformations of Corporeality in the Age of Moving Images
10  Artemis Leontis, Fashioning a Modern Self in Greek Dress: The Case of Eva Palmer Sikelianos
11  Eleni Sikelianou, From Delphi, 1927
12  Martin Winkler, Aphroditê kinêmatographikê: Venus’ Varieties and Vicissitudes

Beyond Hellenomania?
13  Esther Solomon and Styliana Galiniki, Las Incantadas of Salonica: Searching for ‘Enchantment’ in a City’s Exiled Heritage
14  Eleana Yalouri, Afterword: Hellenomanias Past, Present, and Future

Index

Exhibition | Canova and the Antique

Posted in books, catalogues, exhibitions by Editor on April 6, 2019

Now on view in Naples at the MANN:

Canova and the Antique
Museo Archeologico Nazionale di Napoli, Naples, 28 March — 30 June 2019

Curated by Giuseppe Pavanello 

The magnificent art of Antonio Canova (1757–1822) has rightly earned him praise as “the last of the ancients and the first of the moderns.” This exhibition focuses on Canova’s constant, intense, and fruitful relationship with classical antiquity, which made him known as “the new Phidias” among his contemporaries. Throughout the course of his artistic activity, Canova followed Winckelmann’s call “to imitate but not to copy the ancients” in order to “become inimitable.”

Antonio Canova, Dancer with Hands on Hips, 1811–12 (Saint Petersburg: State Hermitage Museum).

The exhibition is organised on two floors and displays over 110 works by Canova, including drawings, sketches, paintings, plaster casts, and marble sculptures. It showcases some of Canova’s greatest masterpieces, such as the famous group of The Graces on loan from the Hermitage State Museum in Saint Petersburg. The National Archaeological Museum of Naples is in a uniquely privileged position to present this complex and fascinating dialogue between Canova’s works and the great works of antiquity, with stunning pieces that can delight the modern spectator as thoroughly as they did Canova’s contemporaries.

The two installations dedicated to Canova in the entrance hall of the Museum are hosted in theatre-like round structures with a six-metre diameter. The visual journey takes the visitor through virtual imagery and scientific study, going from a single detail to a bird’s eye view, from the butterfly of Cupid and Psyche, to Hercules hurling Lichas, the great myths sculpted in marble and the polychrome paintings on a dark background, dedicated to dance. Adriano Giannini’s voice and the original soundtrack by the cello-player Giovanni Sollima contribute to a show that mixes deep emotion and accurate knowledge.

Canova visited Naples in 1780 to admire the beauties of the city and the antiquities of Herculaneum and Paestum. In his second Quaderno di Viaggio he writes about Naples: “everywhere is like Heaven.” He also reports of his visits to the Sansevero Chapel—where he appreciated the Dead Christ (Veiled Christ) by Giuseppe Sammartino—to the Gallery of Capodimonte, and to the Museum of Portici, where all the antiquities from the Vesuvian area had been gathered. Among the bronzes from the Villa of Papyri of Herculaneum he praises the Seated Mercury for “its wonderful beauty.” Canova obtained permission to draw the nude at the Academy (of Fine Arts), then in the area of San Carlo alle Mortelle. Today, in the Academy’s Gipsoteca, it is possible to admire some of Canova’s plaster models. The master returned to Naples in 1787 and carved for Francesco Maria Berio the marble group Venus and Adonis, to be placed in a little temple in the garden of the marquis’ palace, along via Toledo. The work, inscribed in the genre “delicate and gentle,” is today in Geneva. For the Neapolitan Onorato Caetani he sculpted the group Hercules and Lichas, classified in the genre “strong” or “fierce,” taking inspiration from the ideal model of the Farnese Hercules and from the composition of Hector and Troilus—both on display at the MANN. The Herm of a Vestal, commissioned by the count Paolo Marulli d’Ascoli, would leave Naples for Switzerland first and for the Getty Museum of Los Angeles later. After the short life of the Parthenopean Republic, the Bourbon king Ferdinand IV asked Canova to sculpt for him a portrait-statue. In 1821, as suggested by the master himself, it was placed in the niche of the monumental staircase of the Royal Bourbon Museum, today Museo Archeologico Nazionale. During the French decade Canova carved the marble busts, today lost, of Caroline and Joachim Murat, known through their plaster models. In the same period, the king Joseph Bonaparte and his successor Joachim Murat commission an Equestrian Monument to Napoleon, but, with the French domination coming to an end, the work was never completed. When the Bourbon king of Naples Ferdinand I regained the throne as king of the two Sicilies, he asked Canova to complete the piece with the statue of his father, Charles III. The monument can be admired today in Piazza Plebiscito.

Blasco Pisapia and Valentina Moscon, Canova e l’Antico (Milan: Electa, 2019), 360 pages, ISBN: 978-8891825063.

Antonio Canova, Theseus and Pirithous in the Temple of Diana Ortia See Diana Dancing, between Two Dancers, in Front of the Figure of Artemis of Ephesus (Abduction of Helen), 1799, tempera (Possagno: Gypsotheca e Museo Antonio Canova). The painting is one of 34 works inspired by Pompeiian wall paintings.

New Book | Livery Halls of the City of London

Posted in books by Editor on April 5, 2019

Published by Merrell in association with the Worshipful Company of Chartered Architects:

Anya Lucas and Henry Russell, with photographs by Andreas von Einsiedel, Livery Halls of the City of London (London: Merrell, 2018), 280 pages, ISBN: 978-1858946702, £45 / $80.

For some 800 years, Livery Companies have played a leading role in commercial activities and social and political life in the City of London. These trade associations, each representing a particular craft or profession, were originally responsible for controlling, for example, wages and working conditions. Their headquarters—the Livery Halls—evolved from large medieval town houses to become an identifiable building type paralleled only by the guild houses of northern European mercantile cities and the Venetian scuole. This beautiful book is the first major exploration of these architecturally significant buildings. Dr Anya Lucas, who has studied the Halls in depth, provides an introduction and an illustrated history of the buildings that have been lost over the centuries, while Henry Russell surveys each of the 40 present-day Halls, from HQS Wellington, the headquarters of the Master Mariners, in the west to the Proof House, the home of the Gunmakers’ Company, in the east. The existing Livery Halls have been photographed especially for the project by the renowned interiors photographer Andreas von Einsiedel, making this a truly outstanding publication.

Anya Lucas (née Matthews) is an art and architectural historian specializing in 17th- and 18th-century Britain. Her PhD (2015) at the Courtauld Institute of Art, London, examined the architecture and political uses of London’s Livery Halls in the early modern period. She has written about the Livery Halls for Country Life magazine and the Georgian Group Journal, and contributed a chapter on the subject to the book Court, Country, City: British Art and Architecture, 1660–1735 (Yale University Press, 2016). She currently works as Research Curator for the Painted Hall at the Old Royal Naval College in Greenwich, London, where a major conservation project on Sir James Thornhill’s vast baroque scheme is under way.

Exhibition | Éloge du sentiment et de la sensibilité

Posted in books, catalogues, exhibitions by Editor on April 4, 2019

From the Musée des Beaux-Arts de Rennes:

Éloge du sentiment et de la sensibilité: Peintures françaises du xviiie siècle des collections de Bretagne
Musée des Beaux-Arts de Rennes et le Musée d’Arts de Nantes, 15 February — 12 May 2019

Dans le cadre des collaborations entre musées du Grand-Ouest, le Musée des Beaux-Arts de Rennes et le Musée d’Arts de Nantes présentent de février à mai 2019 une exposition en coproduction intitulée Éloge du sentiment et de la sensibilité: Peintures françaises du xviiie siècle des collections de Bretagne. Cet événement présente l’originalité de se dérouler simultanément dans les deux institutions avec un catalogue commun.

Le propos général de l’exposition est une découverte de l’ensemble de la production picturale du Siècle des Lumières à travers le prisme du sentiment et de la sensibilité. Dans la seconde moitié de ce siècle, littérature et peinture reflètent une nouvelle vision de l’Homme et de son environnement. Sentiment et sensibilité deviennent de nouvelles qualités de l’âme, donnant une liberté inédite de ressentir le monde. Diderot s’interroge sur le sentiment dans la peinture et au théâtre, Rousseau porte aux nues la sensibilité dans la Nouvelle Héloïse et théorise une nouvelle forme d’éducation dans l’Émile, Voltaire s’émerveille de l’impact de la nature sur ses sens et son âme… La peinture offre un écho enthousiaste et inspiré à ces préoccupations inédites.

Le choix des oeuvres a été réalisé essentiellement dans les riches collections conservées aux musées de Brest, Nantes, Quimper et Rennes avec des compléments apportés par les collections publiques (musées, églises, bâtiments municipaux) de Morlaix et de Lamballe. La réunion de ces collections permet de représenter l’ensemble des grands artistes du siècle tels qu’Antoine Watteau, François Boucher, Carle Vanloo, Charles Joseph Natoire, Jean Siméon Chardin, Hubert Robert, Jean-Baptiste Greuze ou Jean Honoré Fragonard.

L’exposition en deux parties organisée à Rennes et à Nantes, Éloge du sentiment et Éloge de la sensibilité, permet d’embrasser l’évolution de la peinture française sur un siècle, depuis Antoine Watteau jusqu’au début du xixe siècle. À Rennes s’expose la grande histoire, antique, religieuse et mythologique. Nantes met à l’honneur les différents genres, du grand portrait d’apparat aux sensibles natures mortes. Ce partage des oeuvres s’appuie sur une division ancienne bien connue, que les hasards des collections semblent avoir reproduite dans nos musées : Rennes conserve davantage de peintures d’histoire que Nantes, qui s’illustre plus dans la peinture de genres.

Un premier ensemble d’environ 70 tableaux, réuni à Rennes autour de la notion de sentiment, évoquera en quatre sections l’évolution de la peinture à sujet historique (biblique, mythologique, antique et contemporaine).

Un second ensemble d’environ 70 oeuvres présente en six sections au Musée d’arts de Nantes un parcours autour de la notion de sensibilité à travers la peinture de genre (portraits, scènes galantes, paysage, natures mortes…).

Cet événement inédit fait suite à l’organisation en 2013, par les musées de Quimper et de Rennes, de l’exposition De Véronèse à Casanova, qui, selon le même principe faisait le bilan des richesses des musées bretons dans le domaine de la peinture italienne. Les restaurations et les recherches menées à l’occasion de cet événement ont permis d’apporter un éclairage nouveau sur de nombreuses oeuvres et quelques découvertes importantes dans les réserves de certains musées.

Guillaume Kazerouni and Adeline Collange-Perugi, Éloge du sentiment et de la sensibilité: Peintures françaises du xviiie siècle des collections de Bretagne (Paris: Snoeck, 2019), 367 pages, ISBN: 978-9461615138, 35€.

Exhibition | Bernard Picart (1673–1723)

Posted in books, catalogues, exhibitions by Editor on April 4, 2019

Now on view at the Musée National de Port-Royal des Champs, near Versailles:

Bernard Picart (1673–1723), Dessinateur, de Paris à Amsterdam
Musée National de Port-Royal des Champs, Magny-les-Hameaux, 21 March — 23 June 2019

Curated by Corentin Dury and Philippe Luez 

Bernard Picart (1673–1723), issu d’une famille janséniste, s’installe à Amsterdam en 1710 et y occupe une place majeure dans l’édition hollandaise illustrée. Mais on le connaît moins comme dessinateur. La présente exposition permet de découvrir ce pan inconnu de son activité et lui rend sa place parmi les grands dessinateurs des débuts du règne de Louis XV.

En collaboration avec le Salon international du dessin de Paris et avec la participation du Rijksmuseum d’Amsterdam

Commissaires
Corentin Dury, conservateur du patrimoine, musée des Beaux-arts d’Orléan, et Philippe Luez, conservateur général du patrimoine, directeur du musée national de Port-Royal des Champs

Corentin Dury and Philippe Luez, Bernard Picart (1673–1723), Dessinateur, de Paris à Amsterdam (Paris: Snoeck, 2019), 175 pages, ISBN: 978-9461615459, €25.