Enfilade

New Book | Jean–Bernard Restout (1732–1796)

Posted in books by Editor on January 21, 2018

From Arthena:

Nicole Willk-Brocard, Jean–Bernard Restout (1732–1796) (Paris: Arthena, 2018), 240 pages, ISBN: 978-2903239596, 86€.

Fils de Jean II Restout, grand peintre religieux du xviiie siècle, apparenté à Noël Hallé et à Jean Jouvenet, Jean-Bernard Restout reçoit une solide formation artistique et littéraire. Pensionnaire à l’Académie de France à Rome, il exprime d’emblée un talent novateur, sobre et vigoureux.

Agréé à l’Académie royale comme peintre d’histoire en 1765, il connaît ses premiers succès. Il s’insurge contre le refus du jury d’exposer une de ses oeuvres au Salon de 1769 ; son ressentiment envers l’Académie et les institutions ne fera que croître. Il peint peu, tarde à honorer ses commandes, mais ses oeuvres de la maturité confirment les exceptionnelles qualités de l’artiste, également subtil et intelligent portraitiste. La Révolution à laquelle il adhère avec enthousiasme lui permet, aux côtés de David, d’assouvir sa vengeance contre l’Académie. Il côtoie Robespierre et Fabre d’Églantine mais signe ainsi sa perte : nommé inspecteur général du Garde-Meuble, il est injustement impliqué dans le vol des bijoux de la Couronne et incarcéré avant d’être libéré après le 9 Thermidor. La redécouverte de son oeuvre—largement inédit—fait regretter son choix de la politique au détriment de la peinture.

Docteur ès lettres, membre du conseil d’administration de la Société des Amis du Louvre, ancienne chargée de mission au département des Peintures du musée du Louvre, Nicole Willk-Brocard est spécialiste de la peinture française du XVIIIe siècle. Elle a publié deux monographies de référence : François-Guillaume Ménageot (Arthena, 1978) couronnée par le prix de la Fondation Paul Cailleux, et Une dynastie. Les Hallé (Arthena, 1992) ainsi que de nombreux articles dans des revues scientifiques (Revue des musées de France, Bulletin de la Société de l’Histoire de l’art français, Gazette des Beaux-Arts).

New Book | Joseph-Benoît Suvée (1743–1807)

Posted in books by Editor on January 21, 2018

From Arthena:

Sophie Join-Lambert and Anne Leclair, Joseph-Benoît Suvée (1743–1807) (Paris: Arthena, 2017), 440 pages, ISBN : 978 2903239 602, 129€.

Formé à Bruges, Suvée se perfectionne à Paris dans l’atelier de Bachelier. En 1771, il est lauréat du Grand Prix de l’Académie, devançant David qui lui en gardera une rancune tenace. À Rome, le pensionnaire de l’Académie de France montre une vive curiosité pour les sites antiques. Il réalise de très nombreux dessins dont certains, admirables, révèlent un des dessinateurs les plus doués de sa génération. En 1779, de retour à Paris, il est reçu à l’Académie royale. Il jouera désormais un rôle de premier plan. Les tableaux qu’il expose régulièrement au Salon de 1779 à 1796 témoignent d’une adhésion sans réserve au néoclassicisme. Certaines oeuvres remportent un vif succès, qu’il s’agisse de tableaux d’histoire nationale, d’histoire antique ou de tableaux religieux. Parallèlement, il peint de nombreux portraits avec un réalisme émouvant, les plus célèbres étant ceux de ses compagnons d’infortune détenus avec lui pendant la Terreur dans la prison Saint-Lazare, en particulier celui du poète André Chénier. En 1801, Suvée prend la direction de l’Académie de France à Rome. C’est sous sa houlette qu’une nouvelle génération d’artistes, parmi lesquels Ingres, complète sa formation. Dessinateur hors pair, peintre délicat et novateur, pédagogue reconnu, Suvée, artiste européen entre Bruges, Paris et Rome, appartient pleinement au monde des Lumières.

Docteur en histoire de l’art, conservateur en chef, directrice du musée des Beaux-Arts de Tours, Sophie Join-Lambert a été commissaire de nombreuses expositions en particulier Les peintres du Roi (2000) et L’Apothéose du geste, l’esquisse peinte au siècle de Boucher et Fragonard (2003–2004). Travaillant plus particulièrement sur le xviiie siècle français, elle a publié le catalogue raisonné des Peintures françaises xviiie siècle, du musée des Beaux-arts de Tours et du château d’Azay-le-Ferron (2008). Elle a réalisé en 2017 la première exposition consacrée à Joseph-Benoît Suvée.
Spécialiste de la peinture française du xviiie siècle, Anne Leclair a publié une monographie sur le peintre Louis-Jacques Durameau (Arthena, 2001), couronnée par la Fondation del Duca. Ses recherches ont notamment porté sur la peinture d’histoire (cycle de la Vie de saint Louis à l’École militaire) et sur les décors peints de la Chancellerie d’Orléans; elle a écrit des articles remarqués sur le marché de l’art et sur les cabinets d’amateurs au siècle des Lumières (Mariette, Choiseul et Voyer d’Argenson).

New Book | The Painter’s Touch

Posted in books by internjmb on January 20, 2018

From Princeton UP:

Ewa Lajer-Burcharth, The Painter’s Touch: Boucher, Chardin, Fragonard (Princeton: Princeton University Press, 2018), 336 pages, ISBN 978 06911 70121, $65 / £55.

A new interpretation of the development of artistic modernity in eighteenth-century France.

What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment.

Lajer-Burcharth traces how the distinct logic of these painters’ work—the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard—contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher’s commercial tact, Chardin’s interiorized craft, and Fragonard’s materialization of eros. Foregrounding the question of experience—that of the painters and of the people they represent—she shows how painting as a medium contributed to the Enlightenment’s discourse on the self in both its individual and social functions.

By examining what paintings actually ‘say’ in brushstrokes, texture, and paint, The Painter’s Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.

Ewa Lajer-Burcharth is the William Dorr Boardman Professor of Fine Arts at Harvard University. Her books include Chardin Material and Necklines: The Art of Jacques-Louis David after the Terror.

C O N T E N T S

Acknowledgments
Introduction

1  Boucher’s Tact
Materiality and Personality
Touch and Tact
The Commercial Imagination
Personal Mythologies
The Promiscuous Self
The Artist as Consumer
Pompadour’s Painter

2  Chardin’s Craft
Deep Materiality
The Object (Inside/Out)
The Blind Touch
Underneath the Visible
The Subject
The Return to the Object
The Painter

3  Fragonard’s Seduction
Eros and Individuality
The Unseen
Being and Becoming
Pictorial Seduction
The Erotic Mother
The Artist’s Pleasure
The Painter’s Touch
Love and Life
Ars Erotica

Notes
Bibliography
Index
Image Credits

The Burlington Magazine, January 2018

Posted in books, journal articles, reviews by Editor on January 20, 2018

The eighteenth century in The Burlington, which includes, as noted last week, mention of HECAA and J18 in the editorial in connection with the new scholarship:

The Burlington Magazine 160 (January 2018)

E D I T O R I A L

“The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art,” p. 3. This month The Burlington Magazine launches an annual scholarship for the study of French eighteenth-century fine and decorative art. Initiated and funded by Richard Mansell-Jones, a trustee of The Burlington Magazine Foundation, the scholarship offers £10,000 to a student based anywhere in the world who has embarked or is about to embark on an M.A. or Ph.D. or is undertaking research in a post-doctoral or independent capacity. The full review is available here (also see below).

A R T I C L E S

• Aloisio Antinori, “New Light on the Production of Il Tempio Vaticano,” pp. 22–30.

R E V I E W S

• Susan Walker, Review of Elizabeth Bartman, The Ince Blundell Collection of Classical Sculpture, Volume 3: The Ideal Sculpture (Liverpool University Press, 2017), pp. 64–5.
• Elizabeth Savage, Review of Mark Stocker and Phillip Lindley, eds., Tributes to Jean Michel Massing: Towards a Global Art History (Harvey Miller, 2016), p. 74. [The volume includes Robin Middleton’s essay, “A Cautionary Tale: The History of Eighteenth-Century Architecture in France.”]
• Jeremy Warren, Review of Giovanna Baldissin Molli and Elda Martellozzo Forin, eds., Gli inventari della Sacrestia della Cattedrale di Padova, secoli XIV–XVIII (Il Prato Publishing House, 2016), p. 75.

◊  ◊  ◊  ◊  ◊

The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art
Applications due by 1 March 2018

The Burlington Magazine is pleased to announce the launch of The Burlington Magazine scholarship for the study of French 18th-century fine and decorative art. The scholarship has been created to provide funding over a 12-month period to those engaged in the study of French 18th-century fine and decorative art to enable them to develop new ideas and research that will contribute to this field of art historical study.

Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in the field of French 18th-century fine and decorative arts within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £10,000 will be awarded to the successful applicant.

More information is available here»

New Book | Schenau (1737–1806)

Posted in books by Editor on January 18, 2018

From Imhof:

Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeissig, gen. Schenau (Petersberg: Imhof, 2018), 640 pages, ISBN: 978  373190  5684, 78€ / $135.

Das Werk des Malers Johann Eleazar Zeißig, gen. Schenau (1737–1806), erhielt lange Zeit auch von der Kunstgeschichte nur wenig Aufmerksamkeit; dabei war er mit seinem in Frankreich entwickelten, empfindsamen Rokokostil zu Lebzeiten in Deutschland und darüber hinaus bekannt und berühmt. In Sachsen hatte er als Direktor der Dresdner Kunstakademie sowie als Leiter der Zeichenschule der Porzellanmanufaktur in Meißen eine einflussreiche Stellung inne. Sein OEuvre umfasst Gemälde, Radierungen sowie zahlreiche Zeichnungen und Aquarelle. Hinzu kommt eine große Zahl von französischen und deutschen Kupferstichen nach Werken von seiner Hand, die im vorliegenden Band in Wort und Bild vorgestellt werden.

Exhibition | Winckelmann and the Capitoline Museum

Posted in books, catalogues, exhibitions by Editor on January 18, 2018

From the Capitoline Museum:

The Treasure of Antiquity: Winckelmann and the Capitoline Museum in Eighteenth-Century Rome
Musei Capitolini, Rome, 7 December 2017 — 22 April 2018

Curated by Eloisa Dodero and Claudio Parisi Presicce

Una mostra per celebrare gli anniversari della nascita e della morte del fondatore dell’archeologia moderna, Johann Joachim Winckelmann (1717–1768)

La mostra Il Tesoro di Antichità. Winckelmann e il Museo Capitolino nella Roma del Settecento intende celebrare gli importanti anniversari winckelmanniani del 2017 (300 anni dalla nascita) e del 2018 (250 anni dalla morte) e si inserisce nel contesto delle manifestazioni europee coordinate dalla Winckelmann Gesellschaft di Stendal, dall’Istituto Archeologico Germanico di Roma e dai Musei Vaticani. L’esposizione ha una duplice finalità: la prima, offrire ai visitatori il racconto degli anni cruciali che hanno portato, nel dicembre del 1733, all’istituzione del Museo Capitolino, il primo museo pubblico d’Europa, destinato non solo alla conservazione ma anche alla promozione della “magnificenza e splendor di Roma”; la seconda, presentare le sculture capitoline sotto una luce diversa, ovvero attraverso le intuizioni, spesso geniali, del grande Winckelmann.

Arricchita da una selezione di 124 opere e da apparati multimediali realizzati appositamente, il Tesoro di Antichità si sviluppa in tre sedi diverse nell’ottica di una “mostra diffusa”: le Sale Espositive di Palazzo Caffarelli, le Stanze Terrene di Sinistra del Palazzo Nuovo e le Sale museali del Palazzo Nuovo.

Negli anni in cui Winckelmann rivoluziona il modo di studiare le testimonianze del mondo antico dando inizio alla moderna archeologia, il modello di museo pubblico rappresentato dal Museo Capitolino si diffonde rapidamente in tutta Europa, segnando la nascita di modalità del tutto nuove di fruizione dei beni artistici: un Tesoro di Antichità non più concepito come proprietà esclusiva di pochi, ma come luogo destinato all’avanzamento culturale della società.

Eloisa Dodero and Claudio Parisi Presicce, Il Tesoro di Antichità: Winckelmann e il Museo Capitolino nella Roma del Settecento (Rome: Gangemi Editore, 2017), 384 pages, ISBN: 978 884923 5371, 35€.

«Vivo come un artista e come tale sono accolto nei luoghi dove ai nella Roma del Settecento giovani è permesso di studiare, come nel Campidoglio. Qui è il Tesoro delle Antichità di Roma e qui ci si può trattenere in tutta libertà dalla mattina alla sera». È il 7 dicembre del 1755 ed è con queste parole che Johann Joachim Winckelmann (1717–1768) descrive a un amico la sua prima visita al Museo Capitolino. Negli anni in cui Winckelmann rivoluziona il modo di studiare le testimonianze del mondo antico, il modello di museo pubblico rappresentato dal Museo Capitolino si diffonde in tutta Europa, segnando la nascita di nuove modalità di fruizione dei beni culturali: un «Tesoro di Antichità» non più concepito come proprietà esclusiva di pochi, ma come luogo destinato all’avanzamento culturale della società.

Exhibition | Thomas Gainsborough: Modern Landscape

Posted in books, catalogues, exhibitions by Editor on January 16, 2018

Thomas Gainsborough, Mr. and Mrs. Andrews, ca. 1750
(London: National Gallery)

◊  ◊  ◊  ◊  ◊

On view this spring at the Hamburger Kunsthalle:

Thomas Gainsborough: The Modern Landscape / Die moderne Landschaft
Hamburger Kunsthalle, 2 March — 27 May 2018

Curated by Katharina Hoins and Christoph Martin Vogtherr

Thomas Gainsborough (1727–1788) was a pioneering artist in the development towards ›modern‹ landscape painting of around 1800. He was mainly perceived as a painter of brilliant society portraits by his contemporaries, although he personally far preferred his landscapes. They reflect the dramatic technological and artistic developments of his time and the growing contradictions in British society. Landscape painting served Gainsborough as a laboratory to transform impressions into innovation. He experimented with colours and techniques, painted on glass and combined natural materials into landscape models. Establishing England as a centre of European landscape painting, he created images of timeless power. Iconic works like Mr and Mrs Andrews will feature in the exhibition. Gainsborough: Modern Landscape is the first exhibition by a German museum devoted to Gainsborough. For a German and an international public it promises the (re-)discovery of an exceptional painter.

M. Bills, B. Gockel, M. Hallett, K. Hoins, R. Jones, J. Karg, S. Pisot, and C. Vogtherr, Thomas Gainsborough: The Modern Landscape (Munich: Hirmer, 2018), 224 pages, ISBN: 978  37774  29977, $65.

Gainsborough himself favoured landscape painting, a field to which he made important contributions, over his well-known portraits. His works are fascinating for their painterly subtlety and technical variation. This volume brings together German and British traditions of viewing, interpreting, and studying Gainsborough. It looks at the connections to the Dutch landscapes, explains Gainsborough’s unusual and experimental techniques from an art technological point of view, and situates his landscapes in the context of the social tensions of early industrialisation.

New Book | The Gardens of La Gara

Posted in books by Editor on January 14, 2018

Distributed by ACC Publishing and The University of Chicago Press:

Anette Freytag, ed., The Gardens of La Gara: An 18th-Century Estate in Geneva with Gardens Designed by Erik Dhont and a Labyrinth by Markus Raetz (Zurich: Scheidegger and Spiess, 2017), 272 pages, ISBN: 978 38588 18027, $99 / £85.

La Gara is an 18th-century country estate in Jussy, a village near Geneva, Switzerland. The buildings have been carefully restored by Swiss architect Verena Best, who also added inspired touches to the interior design. The renowned Belgian landscape designer Erik Dhont reinterpreted and subtly redesigned the gardens and surrounding grounds, completed by a palindrome-like labyrinth designed by Swiss artist Markus Raetz. This new book tells the story of the La Gara estate and illustrates its beauty. The essays investigate its preservation and restoration of buildings and gardens and the contemporary interventions. They highlight features such as the historic watering system for the gardens and the fishponds and look at the specific Genevan garden tradition and characteristics of the rural landscape around Jussy with its biodiversity. Moreover, they contextualise La Gara with the ‘ferme ornée’, a villa with agricultural and ornamental features following ancient Roman models. The beautiful volume is rounded out with newly commissioned photographs by renowned Swiss photographer Georg Aerni.

Anette Freytag is Professor of Landscape Design at Rutgers University in New Brunswick, New Jersey.

New Book | Joseph Banks’ Florilegium

Posted in books by Editor on January 13, 2018

From Thames & Hudson:

David Mabberley, Mel Gooding, and Joe Studholme, Joseph Banks’ Florilegium: Botanical Treasures from Cook’s First Voyage (London: Thames & Hudson, 2017), 320 pages, ISBN: 978  050051  9363, £65, $85.

This is the first full-colour publication of some of the most extraordinary botanical prints of the 18th century. Banks’ Florilegium is not only a great scientific record, but also a major achievement of collaborative Enlightenment art and a work of botanical illustration of outstanding beauty.

Joseph Banks accompanied James Cook on his first voyage around the world between 1768 and 1771. A gifted and wealthy young naturalist, Banks collected exotic flora from Madeira, Brazil, Tierra del Fuego, the South Pacific, New Zealand, Australia and Java, bringing back over 1,300 species hitherto unknown to science. On his return, Banks commissioned over 700 superlative engravings as a scientific record. Known collectively as Banks’ Florilegium, they are some of the most precise and exquisite examples of botanical illustration ever made—yet they were never published in Banks’s lifetime.

The present selection has been made from a unique limited colour edition of the prints, with expert botanical commentaries provided by Professor David Mabberley. Mel Gooding describes the Endeavour voyage and the making of the Florilegium. An afterword by Joe Studholme outlines the history of the modern printing.

David Mabberley has served as Executive Director of the Royal Botanic Gardens and Domain Trust in Sydney. He is an Emeritus Fellow at Wadham College, Oxford, Adjunct Professor at Macquarie University, Sydney, and Professor Extraordinary at the University of Leiden, The Netherlands.
Mel Gooding is an art historian, writer and curator. He has taught at Edinburgh and Wimbledon Schools of Art, among others, and contributes regularly to the art press.
Joe Studholme co-founded Editions Alecto and undertook the printing of Banks’ Florilegium from the original copper plates between 1980 and 1990.

C O N T E N T S

• The Making of Banks’ Florilegium I: The Voyage of Endeavour, Mel Gooding
• The Plates, David Mabberley
• The Making of Banks’ Florilegium II: The Florilegium, 1772–1990, Mel Gooding
• The Modern Printing of the Florilegium, Joe Studholme

Exhibition | Luigi Valadier: Splendor in Eighteenth-Century Rome

Posted in books, catalogues, exhibitions by Editor on January 12, 2018

Looking ahead to the fall, from the press release:

Luigi Valadier: Splendor in Eighteenth-Century Rome
The Frick Collection, New York, 31 October 2018 — 20 January 2019
Galleria Borghese, Rome, 2019

Curated by by Alvar González-Palacios and Xavier Salomon

Luigi Valadier, Herma with Bacchus for the Palazzo Borghese, alabaster and glazed bronze with traces of gilding, 1773, 69 inches (Rome: Galleria Borghese; photo by Mauro Magliani).

Of the many artists who flourished in Rome during the eighteenth century, the silversmith Luigi Valadier (1726–1785) was among those particularly admired by popes, royalty, and aristocrats. Luigi was born in Rome in 1726, about six years after his parents emigrated from France. His father, Andrea, established a silversmith workshop that quickly captured the attention of the wealthiest Roman aristocrats. Heir to his father’s business, Luigi had an unsurpassed technical expertise, which, combined with his avant-garde aesthetic, resulted in extraordinary works in silver and bronze. Well aware of the evolution of artistic taste throughout Europe, he had an impressive ability to reframe examples of ancient Roman art and architecture within the context of contemporary Rome. Sculptures in private collections, cameos, architectural details, and ruins of ancient monuments served as his inspiration for candelabra, tableware, altars, and centerpieces in both silver and bronze. Luigi’s fame and influence spread beyond the borders of Italy, and he received commissions from patrons in France, England, and Spain. He was, however, burdened by debts for commissions undertaken but never paid for, and, in 1785, he committed suicide, drowning himself in the Tiber. Following this tragic event, his workshop passed to his son Giuseppe.

Illustrating the uncommon versatility of Luigi Valadier, who produced everything from large altar pieces to intricate works of jewelry, the Frick’s fall 2018/winter 2019 exhibition will include more than sixty works carefully selected from the vast production of the Valadier workshop. Preparatory drawings of both sacred and profane subjects will be displayed alongside finished works. . One of the highlights of the exhibition will be a full centerpiece, or deser (from the Italianization of the French word dessert), created around 1778 for the Bali de Breteuil, Ambassador of the Order of Malta to Rome. Atop a gilt-bronze base inlaid with precious stones, Valadier has re-created temples, triumphal arches, columns, and other miniature representations of ancient Roman monuments. The multiple elements of the Breteuil deser are today separated between two museums in Madrid (the Museo Arqueológico Nacional and the Palacio Real), but will be reunited for this special exhibition at the Frick. It will therefore be possible to admire this masterwork in its entirety, as nobles and cardinals did in 1778, when it was displayed for a few days in Valadier’s workshop in a candle-lit room specially decorated for the occasion.

The exhibition will also feature finely worked silver plates, tureens, salt cellars, and other pieces of tableware. The juxtaposition of these individual works with the complete centerpiece will illustrate the evolution of the Valadier workshop. While the earliest pieces presented are distinctly in the Baroque style, Valadier’s work becomes more refined in the Rococo style, before becoming neoclassical by the late-eighteenth century. The monochrome silver objects will be contrasted with polychrome works in gilt-bronze, marble, and precious stones, such as the Egyptian clock, a table from Villa Borghese, and extraordinary mounts for two antique cameos once in the Vatican collections and now at the Musée du Louvre.

One section of the exhibition will be devoted to reproductions in bronze of famous antique sculptures in Roman collections, such as the Apollo Belvedere and the Ares Ludovisi.

Luigi Valadier: Splendor in Eighteenth-Century Rome is co-curated by Professor Alvar González-Palacios, considered the world’s authority on Valadier, and Xavier F. Salomon, Peter Jay Sharp Chief Curator of The Frick Collection. It is part of a series of monographic exhibitions that focus on remarkable decorative arts artists and follows the ground-breaking and critically acclaimed Pierre Gouthière: Virtuoso Gilder at the French Court, organized by the Frick, where it was on view in fall 2016 before traveling to the Musée des arts décoratifs, Paris, in spring 2017.

Accompanying the exhibition will be the first complete monograph on Luigi Valadier. Written by González-Palacios, the book will shed new light on the provenance and dating of some works. It also identifies the exact roles performed inside the workshop by Andrea, Luigi, and Giuseppe Valadier, tracing the genesis of inventions and the authorship of models. The monograph also details the Valadier family’s collaborations with other workshops and artists. Typically, works in various materials such as bronze, marble, and precious stones were realized not by one person but by many artisans working together. The decoration of both sacred and private buildings likewise involved outside artisans and architects. This will be the only comprehensive publication on Valadier in English and, lavishly illustrated, it will feature much-needed new photography.

Together, the monograph and exhibition at the Frick will reconstruct the artistic endeavors of one of the most important silversmith families, shedding new light on the cultural life of Rome and, more broadly, Europe, during the eighteenth century. Following the presentation of this show in New York, a related exhibition will be on view later in 2019 at the Galleria Borghese, Rome.