Enfilade

Exhibition | Curieux Antiquaires: Les débuts de l’archéologie à Bavay

Posted in books, catalogues, exhibitions by Editor on June 23, 2019

From the Forum Antique de Bavay:

Curieux Antiquaires: The Origins of Archaeology in Bavay in the 18th and 19th Centuries
Forum Antique, Bavay (Nord), 7 February — 27 August 2019

L’antiquaire est par définition un grand collectionneur… Mais, celui que nous connaissons aujourd’hui et celui des XVIIIe et XIXe siècles sont bien différents. Un antiquaire dans les années 1700 et 1800 est en réalité un précurseur de l’archéologie, il se passionne pour la collection d’objets antiques et s’intéresse à leur passé pour raconter notre Histoire. Avec l’exposition Curieux antiquaires, les débuts de l’archéologie à Bavay aux XVIIle et XIXe siècles, pénétrez au coeur du passé antique de Bavay avec les yeux de ces amateurs éclairés. Découvrez des érudits hauts en couleurs à travers leurs méthodes de travail, réseaux, collections et dessins.

Cette exposition grand public a pour but de faire part aux visiteurs des avancées dans la connaissance de l’histoire de l’archéologie à Bavay en mettant d’une part en avant des portraits des acteurs de cette histoire (l’abbé Carlier, J.B. Lambiez, Antoine Niveleau, Parent) et d’autre part leurs publications (Recueil de dessins de Carlier, Histoire monumentaire du Nord des Gaules de Lambiez, Bavay ancien et nouveau de Niveleau …). Il est aussi question de faire prendre conscience au public du fait que la manière de construire l’image de l’Antiquité est conditionnée par l’époque.

Curieux Antiquaires: Les débuts de l’archéologie à Bavay aux XVIIIe et XIXe siècles (Paris: Snoeck, 2019), 200 pages, ISBN: 978-9461614711, 22€.

Si l’histoire de l’antique Bagacum est bien connue, la manière dont celle-ci s’est construite l’est moins. Curieux antiquaires, les débuts de l’archéologie à Bavay aux XVIIIe et XIXe siècles permet d’appréhender le patrimoine bavaisien sous un nouvel angle. Offrant une mise en perspective tant géographique que chronologique, ce catalogue apporte une vision nouvelle sur les premiers antiquaires bavaisiens. A travers les contributions d’Odile Parsis-Bazubé et d’Alain Schnapp, c’est la construction de l’antiquariate et de l’archéologie en France aux XVIIIe et XIXe siècles qui est mise en lumière. Plus loin, Véronique Beirnaert-Mary, Delphine Morana-Burlot et Véronique Krings détaillent l’exemple de Bavay. La première dresse le paysage bavaisien en présentant les acteurs locaux et leurs actions. Delphine Morana-Burlot propose ensuite une réflexion autour de la question du faux, Enfin, Véronique Krings ouvre une fenêtre sur la période du début du XXe siècle en s’attachant à relater la correspondance entre Franz Cumont et Raoul Warocqué autour des objets bavaisiens. Richement illustré, cet ouvrage rassemble toutes les pièces présentées à l’occasion de l’exposition. Des documents inédits sont ici publiés pour la première fois. La juxtaposition des objets archéologiques et de leur représentation dessinée est elle aussi inédite.

Exhibition | Romantic Germany

Posted in books, catalogues, exhibitions by Editor on June 19, 2019

Now on view at the Petit Palais:

Romantic Germany: Drawings from the Museums of Weimar
Petit Palais, Paris, 22 May — 1 September 2019

Curated by Hermann Mildenberger, Gaëlle Rio, and Christophe Leribault

For the first time in France the Petit Palais is presenting a selection of 140 drawings from the lavish collections of Weimar’s museums. These remarkable images—initially chosen by Goethe (1749–1832) for the Grand Duke of Saxe-Weimar-Eisenach and his own collection—offer a spectacular overview of the golden age of German drawing (ca. 1780–1850).

In the late 18th century the city of Weimar, seat of the Dukes of Saxe-Weimar, was Germany’s intellectual hub. A key figure at this enlightened court, Goethe accumulated numerous posts of cultural responsibility, in addition to writing most of his works there. Himself a knowledgeable collector and draftsman, he built up for the Grand Duke a handsome collection representing every facet of German drawing.

At this time, literature, the visual arts, and music were undergoing profound upheavals in terms of their rules and practice. While the Romantic movement never had a leader as such, its artists unanimously stood for expression of the passions and subjectivity of vision; and in many cases this period saw a blossoming of drawing that made it the most innovative of the creative disciplines of the time.

Divided into seven sections, the exhibition combines the chronological and the aesthetic. As well as such emblematic figures as Caspar Friedrich, Philipp Runge, and Johann Füssli, visitors will discover some 35 artists who played vital parts in the history of drawing, among them Tischbein, Carstens, Fohr, Horny, von Schadow, Schinkel, von Schwind, Richter, and the Nazarenes Overbeck and Schnorr von Carolsfeld, driven by Christian spirituality and national feeling. Portraits and genre scenes, castles in ruins, compositions of biblical and medieval inspiration—but above all landscapes mingling idealism and naturalism in every imaginable media—offer viewers a sublime frisson in their illustration of the private, inner and sometimes flamboyant lives of the Romantic artists.

Curators
Hermann Mildenberger, professor and curator at Klassik Stiftung Weimar
Gaëlle Rio, director, Musée de la Vie romantique
Christophe Leribault, director, Petit Palais

L’Allemagne romantique: Les dessins du musée de Weimar (Paris: Éditions Paris Musées, 2019), 232 pages, ISBN: 978-2759604258, 40€.

New Book | Female Portraiture and Patronage in Marie Antoinette’s Court

Posted in books by Editor on June 18, 2019

From Routledge:

Sarah Grant, Female Portraiture and Patronage in Marie Antoinette’s Court: The Princesse de Lamballe (New York: Routledge, 2018), 248 pages, ISBN: 978-1138480827 (hardcover), $150 / ISBN: 978-1351061827 (ebook), $55.

This comprehensive book brings to light the portraits, private collections and public patronage of the princesse de Lamballe (1749–1792), a pivotal member of Marie-Antoinette’s inner circle. Drawing extensively on unpublished archival sources, Sarah Grant examines the princess’s many portrait commissions and the rich character of her private collections, which included works by some of the period’s leading artists and artisans. The book sheds new light on the agency, sorority, and taste of Marie-Antoinette and her friends, a group of female patrons and model of courtly collecting that would be extinguished by the coming revolution.

Sarah Grant is Curator, Prints, at the Victoria & Albert Museum, London.

C O N T E N T S

Introduction
1  From Wife to Widow: Early Portraits of the Princesse de Lamballe
2  Paying Court: Careerism, Sentiment, and Sorority in Portraits of the Princesse de Lamballe
3  The Anglophile Princesse de Lamballe: Portraits, Prints, Gardens, and Anglomania at the Court of Marie-Antoinette
4  ‘Protector of the Fine Arts’: The Private Collection and Public Patronage of the Princesse de Lamballe, a Courtier-Collector
5  Epilogue

Bibliography
Index

New Book | Marie Antoinette at Petit Trianon

Posted in books by Editor on June 17, 2019

From Routledge:

Denise Maior-Barron, Marie Antoinette at Petit Trianon: Heritage Interpretation and Visitor Perceptions (New York: Routledge, 2018), 328 pages, ISBN: 978-1138565562 (hardcover), $140 / ISBN: 978-1315123080 (ebook), $55.

Marie Antoinette at Petit Trianon challenges common perceptions of the last Queen of France, appraising the role she played in relation to the events of French Revolution through an original analysis of contemporary heritage practices and visitor perceptions at her former home, the Petit Trianon.

Controversy and martyrdom have placed Marie Antoinette’s image within a spectrum of cultural caricatures that range from taboo to iconic. With a foundation in critical heritage studies, this book examines the diverse range of contemporary images portraying Marie Antoinette’s historical character, showing how they affect the interpretation and perception of the Petit Trianon. By considering both producers and receivers of these cultural heritage exponents—Marie Antoinette’s historical figure and the historic house museum of the Petit Trianon—the book expands current understandings of twenty-first century cultural heritage perceptions in relation to tourism and popular culture. A useful case study for academics, researchers, and postgraduate students of cultural heritage, it will also be of interest to historians, keepers of house museums, and those working in the field of tourism studies.

Denise Maior-Barron is a Visiting Research Fellow at the School of Tourism at Plymouth University and a Reader at the Huntington Library. She obtained her PhD from Plymouth University in collaboration with the Château de Versailles, following two consecutive research internships at this UNESCO heritage site. Her research focuses on critical cultural heritage and tourist consumption, with an emphasis on rehabilitative history and popular representations in the social imaginary.

C O N T E N T S

Introduction
1  ‘Places of Memory’ in the Nationalist Era of the French Third Republic
2  ‘Places of Memory’ Anchored in Postmodernity
3  Methodology and Fieldwork Research at the Petit Trianon
4  Historical and Cinematic Narratives Encoding Marie Antoinette’s Contemporary Perception
5  Eighteenth-Century Architectural and Heritage Narratives of the Petit Trianon
6  ‘Memories’ of Marie Antoinette: Field Research Evidence at the Petit Trianon
7  ‘Ange ou Démon?’ Contemporary Images of the Last Queen of France at the Petit Trianon
Conclusion

Exhibition | Generation Revolution: French Drawings

Posted in books, catalogues, exhibitions by Editor on June 16, 2019

Philippe-Auguste Hennequin, Les Remords d’Oreste, ca. 1800
(Montpellier: Musée Fabre)

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Press release for the exhibition now on view at the Cognacq-Jay:

Generation Revolution: French Drawings from the Musée Fabre in Montpellier, 1770–1815
Musée Cognacq-Jay, Paris, 16 March — 14 July 2019

From 16 March through 14 July 2019, the Musée Cognacq-Jay explores the choices made by a generation of artists who were in their thirties during the French Revolution. The art world they had known was completely overthrown. How did they adapt? Where did they stand, and what coping strategies did they find? Artists were obliged to profoundly re-examine their practices and their opportunities, reconsidering even their subjects and their stylistic orientation, between Neoclassicism and Pre-Romanticism.

The medium of intimacy par excellence, drawing reflects the richness and diversity of this transitional period. The exhibition brings together a selection of 80 exceptional drawings from the collection of the Musée Fabre in Montpellier. This unique group of drawings, never before shown in Paris, attests the acceleration of history and a prelude to modernity

The decades bridging the 18th and 19th centuries were a period of major political, economic, and social upheaval. The art world was by no means spared: royal commissions disappeared, the Académies were suppressed, and large projects cancelled. This exhibition, organised in collaboration with the Musée Fabre in Montpellier, speaks to the renewal of artistic techniques, styles, subjects, and sensibilities that emerged from these upheavals. While the birth of a republican patriotic ideal inspired artists to draw from the history of Antiquity, private and picturesque subjects also experienced an unprecedented success.

Focused on drawing, the exhibition presents a corpus of almost a hundred remarkable sheets, assembled by one of David’s favourite students, the painter François-Xavier Fabre, who was also a collector, art expert and art dealer. The collection he bequeathed to his native city was the basis for the Cabinet des arts graphiques at the Musée Fabre. The most famous artists of the time: David, Girodet, Vien, Fragonard and Prud’hon clustered around the personality of Fabre.

The exhibition plan is based on around four thematic sections presenting the different genres practiced by artists of the time, the development of artistic trends, and the emergence of individual personalities along with the diversity of graphic techniques employed.

Drawing to Learn

Until the end of the Ancien Regime, training at the Royal Academy was a requirement for any artist who hoped to obtain official commissions. Drawing instruction occupied a preeminent place in the curriculum and required a mastery of geometry, perspective, and anatomy. Figure drawing was considered the most noble exercise (and the most revelatory of youthful potential), so much so that the male nude was known as an ‘academy figure’. With the coming of the Revolution, the practice of drawing took off in an extraordinary way.

In Praise of the Individual

Although historical subjects continued to dominate the hierarchy of genres in painting, representations of daily life and its pleasures attracted an ever more substantial clientele. The portrait and the genre scene—less subject to political shifts and embraced by a growing bourgeoisie—expanded in an unprecedented way. Fragonard, for example, made a specialty of these types of painting.

The Virtues of History

The hegemony of history painting was exacerbated by the Revolution and took on a moralising role: the nascent Republic seized upon ancient Rome for its examples of virtue and heroism. Interest in subjects taken from the Bible and ancient history strengthened the dominance of Neoclassicism. Meanwhile, however, artists were fascinated by other imaginaries: the national past, especially the medieval past, and the Middle-East, revealed by scientific investigations and military campaigns, two points of reference which are at the source of later Neo-Gothic and Orientalism.

Travel and Nature

Antoine-Laurent Castellan, Etude de nuages, 1815 (Montpellier: Musée Fabre).

For the artists who chose exile, Italy remained a favoured destination. Attractive above all for its masterpieces of ancient and Renaissance art, Italy’s vast panoramas and striking light effects were also a draw. The French artists sojourning on the peninsula—in particular François-Xavier Fabre and his friends—went off into the countryside looking to immortalise grandiose sites where nature dominates the human figure.

Lead Curators
Michel Hilaire, Director, Musée Fabre
Annick Lemoine, Director, Musée Cognacq-Jay
Rose-Marie Herda-Mousseaux, chief curator for the modern era at the Louvre Abu Dhabi

Scientific Curators
Benjamin Couilleaux, Curator for cultural heritage, Director Musée Bonnat-Helleu
Florence Hudowicz, Curator for cultural heritage, Curator of drawings and decorative arts, Musée Fabre, Montpellier

Benjamin Couilleaux, Michel Hilaire, and Florence Hudowicz, Génération en Révolution: Dessins français du musée Fabre, 1770–1815 (Paris Musées, 2019), 174 pages, ISBN: 978-2759604197, 35€.

Catalogue cover Image: François-Xavier Fabre, Personnage nu saisissant un cube de pierre, 1789–92 (Montpellier: Musée Fabre).

New Book | From Stone to Paper: Architecture as History

Posted in books by Editor on June 15, 2019

From Yale UP:

Chanchal Dadlani, From Stone to Paper: Architecture as History in the Late Mughal Empire (New Haven: Yale University Press, 2019), 232 pages, ISBN: 978-0300233179, $65.

By the 18th century, the Mughal Empire was well beyond its so-called golden age. Its control of the Indian subcontinent was increasingly threatened by regional Indian states, as well as by the encroaching British Empire. In response to a rapidly changing sociopolitical landscape, the Mughal emperors used architecture to harness their illustrious past and stage cultural authority for contemporary audiences. Chanchal Dadlani provides the first in-depth look at this crucial period of architectural history. Discussing a rich array of built forms and urban spaces—from grand imperial mosques to Delhi’s bustling thoroughfares—the volume sheds light on long-overlooked buildings. It also explores representations of architectural monuments that circulated in the form of building plans, manuscript paintings, and postcards. Ultimately, the book reveals how Mughal architects, artists, and patrons built on the cultural legacy of their imperial predecessors to create the very concept of a historical style identifiable as Mughal.

Chanchal B. Dadlani is associate professor of art and architectural history at Wake Forest University.

C O N T E N T S

Acknowledgments
Note on Translation and Transliteration

Introduction: The Mughal Eighteenth Century
1  Between Experimentation and Regulation: The Foundation of an Eighteenth-Century Style
2  The Urban Culture of Mughal Delhi
3  ‘The Last Flicker in the Lamp of Mughal Architecture’: Transforming the Imperial Capital
4  Codifying Mughal Architecture on Paper
5  Mughal Architecture between Manuscript and Print Culture
Conclusion: From Historicization to Abstraction

Notes
Select Bibliography
Index
Illustration Credits

New Book | The Anarchy: The Relentless Rise of the East India Company

Posted in books by Editor on June 14, 2019

From Bloomsbury this fall:

William Dalrymple, The Anarchy: The Relentless Rise of the East India Company (London: Bloomsbury Publishing, 2019), 320 pages, ISBN: 978-1408864371, £25 / $30.

In his most ambitious book to date, bestselling historian William Dalrymple tells the timely and cautionary tale of the rise of the East India Company and one of the most supreme acts of corporate violence in world history.

In August 1765 the East India Company defeated and captured the young Mughal emperor and forced him to set up in his richest provinces a new government run by English traders who collected taxes through means of a vast and ruthless private army. The creation of this new government marked the moment that the East India Company ceased to be a conventional international trading corporation, dealing in silks and spices, and became something much more unusual: an aggressive colonial power in the guise of a multinational corporation. In less than half a century it had trained up a private security force of around 260,000 men—twice the size of the British army—and had subdued an entire subcontinent, conquering first Bengal and finally, in 1803, the Mughal capital of Delhi itself. The Company’s reach stretched relentlessly until almost all of India south of the Himalayas was effectively ruled from a boardroom in London.

The Anarchy tells the remarkable story of how one of the world’s most magnificent empires disintegrated and came to be replaced by a dangerously unregulated private company, based thousands of miles overseas and answerable only to its shareholders. In his most ambitious and riveting book to date, William Dalrymple tells the story of the East India Company as it has never been told before, unfolding a timely cautionary tale of the first global corporate power.

William Dalrymple is the bestselling author of In Xanadu, City of Djinns, From the Holy Mountain, The Age of Kali, White Mughals, The Last Mughal and, most recently, Nine Lives. He has won the Thomas Cook Travel Book Award, the Sunday Times Young British Writer of the Year Award, the Ryszard Kapuscinski Award for Literary Reportage, the Hemingway Prize, the French Prix d’Astrolabe, the Wolfson Prize for History, the Scottish Book of the Year Award, the Duff Cooper Memorial Prize, the Asia House Award for Asian Literature, the Vodafone Crossword Award and has three times been longlisted for the Samuel Johnson Prize. In 2012 he was appointed Whitney J. Oates Visiting Fellow in Humanities at Princeton University. He lives with his wife and three children on a farm outside Delhi.

Exhibition | Masterpieces of Indian Painting for the East India Company

Posted in books, catalogues, exhibitions by Editor on June 14, 2019

Shaikh Zain al–Din, Malabar Giant Squirrel, Eastern India, Calcutta, 1778
(Private Collection; photo by Margaret Nimkin)

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From the press release:

Forgotten Masterpieces of Indian Painting for the East India Company
The Wallace Collection, London, September 2019 — January 2020

Curated by William Dalrymple

In September 2019, the Wallace Collection presents Forgotten Masterpieces of Indian Painting for the East India Company. Curated by renowned writer and historian William Dalrymple, this is the first UK exhibition of Indian paintings commissioned by East India Company officials in the late eighteenth and nineteenth centuries. Reflecting both the beauty of the natural world and the social reality of the time, these dazzling and often surprising artworks offer a rare glimpse of the cultural fusion between British and Indian artistic styles during this period.

Comprising works from a wide variety of Indian traditions, the exhibition belatedly honours historically overlooked Mughal artists including Shaikh Zain al–Din, Bhawani Das, Shaikh Mohammad Amir of Karriah, Sita Ram, and Ghulam Ali Khan. It will shed light on a forgotten moment in Anglo-Indian history, recognising the vivid and highly original paintings it produced as among the greatest masterpieces of Indian painting.

William Dalrymple, Forgotten Masterpieces: Painting for the East India Company (London: Philip Wilson Publishers, 2019), 192 pages, ISBN: 978-1781300978.

 

 

Book Launch | Art and Race

Posted in books, exhibitions, lectures (to attend) by Editor on June 11, 2019

This evening at The Courtauld:

An Evening about Art and Race, Launching L’Art et la Race: L’Africain (tout) contre l’oeil des Lumières
The Courtauld Institute of Art, King’s Cross, London, 11 June 2019

Organized by Katie Scott and Esther Chadwick

The Courtauld Institute invites you to a round-table discussion to celebrate the publication of Anne Lafont’s major new book L’Art et la Race: L’Africain (tout) contre l’oeil des Lumières (2019) and to mark the exhibition Le Modèle noir at the Musée d’Orsay, Paris. The book will be launched by Dr Mechthild Fend (UCL) and Dr Esther Chadwick (Courtauld), followed by conversation between Professor Lafont (EHESS), Professor David Bindman (UCL), and Sam McGuire (Tate) about the staging of the exhibition. Drinks reception to follow.

Tuesday, 11 June 2019, 5:00–6:30pm; Research Forum Seminar Room, The Courtauld Institute of Art, Vernon Square Campus, Penton Rise, London. Free and open to all. Registration details are available here.

New Book | Inventing Boston

Posted in books by Editor on June 3, 2019

From Yale UP:

Edward S. Cooke, Inventing Boston: Design, Production, and Consumption, 1680–1720 (New Haven: Yale University Press, 2019), 232 pages, ISBN: 978-0300232110, $60.

During the late 17th and early 18th centuries, Boston was both a colonial capital and the third most important port in the British empire, trailing only London and Bristol. Boston was also an independent entity that pursued its own interests and articulated its own identity while selectively appropriating British culture and fashion. This revelatory book examines period dwellings, gravestones, furniture, textiles, ceramics, and silver, revealing through material culture how the inhabitants of Boston were colonial, provincial, metropolitan, and global, all at the same time. Edward Cooke’s detailed account of materials and furnishing practices demonstrates that Bostonians actively filtered ideas and goods from a variety of sources, combined them with local materials and preferences, and constructed a distinct sense of local identity, a process of hybridization that exhibited a conscious desire to shape a culture as a means to resist a distant, dominant power.

Edward S. Cooke, Jr. is the Charles F. Montgomery Professor of the History of Art at Yale University.

More information about the book is available from the Paul Mellon Centre.