Enfilade

From Brill:

Jan Dirk Baetens and Dries Lyna, eds., Art Crossing Borders: The Internationalisation of the Art Market in the Age of Nation States, 1750–1914, Series: Studies in the History of Collecting & Art Markets, Volume 6 (Leiden: Brill, 2019), 351 pages, ISBN: 978-9004291980, €127 / $153.

Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways.

Jan Dirk Baetens (PhD, University of Leuven, 2011), is Assistant Professor at Radboud University Nijmegen. He has published widely on the nineteenth-century art market and on nineteenth-century historicism. He is preparing a book-length study on the Belgian history and historical genre painter Henri Leys.

Dries Lyna (PhD, University of Antwerp, 2010), is Assistant Professor at Radboud University Nijmegen. He has published on the art markets and material culture of eighteenth-century cities in the Low Countries, co-editing Concepts of Value in European Material Culture, 1500–1900 (2015). He is currently preparing a book on the rise of art auctions in the Austrian Netherlands.

C O N T E N T S

Acknowledgements
Figures
Contributors

• Jan Dirk Baetens and Dries Lyna, Towards an International History of the Nineteenth-Century Art Trade
• Jan Dirk Baetens and Dries Lyna, The Education of the Art Market: National Schools and International Trade in the ‘Long’ Nineteenth Century
• Bénédicte Miyamoto, ‘Directions to Know a Good Picture’: Marketing National School Categories to the British Public in the ‘Long’ Eighteenth Century
• Leanne Zalewski, Creating Cultural and Commercial Value in Late Nineteenth-Century New York Art Catalogues
• Barbara Pezzini, (Inter)national Art: The London Old Masters Market and Modern British Painting (1900–14)
• Camilla Murgia, The Artistic Trade and Networks of the Italian Community in London around 1800
• Lukas Fuchsgruber, Berlin – Paris: Transnational Aspects of French Art Auctions in the Middle of the Nineteenth Century
• Adriana Turpin, Appropriation as a Form of Nationalism? Collecting French Furniture in the Nineteenth Century
• Sharon Hecker, The Modern Italian Sculptor as International Entrepreneur: The Case of Medardo Rosso (1858–1928)
• Robert Verhoogt, Art Reproduction, and the Nation: National Perspectives in an International Art Market
• Pamela Fletcher and Anne Helmreich, Reframing the ‘International Art Market’

Index

From Yale UP:

Noelle Gallagher, Itch, Clap, Pox: Venereal Disease in the Eighteenth-Century Imagination (New Haven: Yale University Press, 2019), 288 pages, ISBN: 978-0300217056, $65.

A lively interdisciplinary study of how venereal disease was represented in eighteenth-century British literature and art

In eighteenth-century Britain, venereal disease was everywhere and nowhere: while physicians and commentators believed the condition to be widespread, it remained shrouded in secrecy, and was often represented using slang, symbolism, and wordplay. In this book, literary critic Noelle Gallagher explores the cultural significance of the ‘clap’ (gonorrhea), the ‘pox’ (syphilis), and the ‘itch’ (genital scabies) for the development of eighteenth-century British literature and art. As a condition both represented through metaphors and used as a metaphor, venereal disease provided a vehicle for the discussion of cultural anxieties about gender, race, commerce, and immigration. Gallagher highlights four key concepts associated with venereal disease, demonstrating how infection’s symbolic potency was enhanced by its links to elite masculinity, prostitution, foreignness, and facial deformities. Casting light where the sun rarely shines, this study will fascinate anyone interested in the history of literature, art, medicine, and sexuality.

Noelle Gallagher is Senior Lecturer in Eighteenth-Century Literature and Culture at the University of Manchester. She is the author of Historical Literatures: Writing about the Past in England, 1600–1740.

Distributed in North America by The University of Chicago Press:

Anna Marie Roos, Martin Lister and his Remarkable Daughters: The Art of Science in the Seventeenth Century (Oxford: Bodleian Library, 2019), 224 pages, ISBN: 978-1851244898, $40.

A royal physician and fellow of the Royal Society, Martin Lister was an extraordinarily prolific natural historian with an expertise in shells and mollusks. Disappointed with the work of established artists, Lister decided to teach his daughters, Susanna and Anna, how to illustrate images of the specimens he studied. The sisters became so skilled that Lister entrusted them with his great work, Historiæ Conchyliorum, assembled between 1685 and 1692. This first comprehensive study of conchology consisted of more than one thousand copperplates of shells and mollusks collected from around the world. Martin Lister and his Remarkable Daughters reconstructs the creation of this masterwork, presenting original drawings, engraved copperplates, draft prints, and photographs of the finished books.

Susanna and Anna portrayed the shells of this collection not only as curious and beautiful objects, but also as specimens of natural history, rendering them with sensitivity and keen scientific empiricism. Beautiful in their own right, their illustrations and engravings reveal the early techniques behind scientific illustration and offer fascinating insight into the often hidden role of women in the scientific revolution.

Anna Marie Roos is a reader in the history of science and medicine at the University of Lincoln.

From the University of Virginia Press:

G. S. Wilson, Jefferson on Display: Attire, Etiquette, and the Art of Presentation (Charlottesville: University of Virginia Press, 2018), 308 pages, ISBN: 978-0813941295, $30.

When we think of Thomas Jefferson, a certain picture comes to mind for some of us, combining his physical appearance with our perception of his character. During Jefferson’s lifetime this image was already taking shape, helped along by his own assiduous cultivation. In Jefferson on Display, G. S. Wilson draws on a broad array of sources to show how Jefferson fashioned his public persona to promote his political agenda. During his long career, his image shifted from cosmopolitan intellectual to man of the people. As president he kept friends and foes guessing: he might appear unpredictably in old, worn, and out-of-date clothing with hair unkempt, yet he could as easily play the polished gentleman in a black suit, as he hosted small dinners in the President’s House that were noted for their French-inspired food and fine European wines. Even in retirement his image continued to evolve, as guests at Monticello reported being met by the Sage clothed in rough fabrics that he proudly claimed were created from his own merino sheep, leading Americans by example to manufacture their own clothing, free of Europe.

By paying close attention to Jefferson’s controversial clothing choices and physical appearance—as well as his use of portraiture, architecture, and the polite refinements of dining, grooming, and conversation—Wilson provides invaluable new insight into this perplexing founder.

G. S. Wilson is Shannon Senior Historian at the Robert H. Smith International Center for Jefferson Studies, Monticello.

C O N T E N T S

List of Illustrations
Acknowledgments

Introduction

The European Experience
1  At the French Court and among the Literati
2  Remembering the Revolution

The Politics of the 1790s
3  Returning to a New America
4  Campaigning for Change

The Presidency
5  A New Presidential Profile
6  But Always the Cosmopolitan Gentleman

Retirement at Monticello
7  Contemplating Legacy
8  A Final Image

Epilogue

Notes
Bibliography
Illustration Credits
Index

From The University of Chicago Press:

Cynthia Wall, Grammars of Approach: Landscape, Narrative, and the Linguistic Picturesque (Chicago: The University of Chicago Press, 2019), 352 pages, ISBN: 978-0226467665 (cloth), $105 / ISBN: 978-0226467832 (paper), $35.

In Grammars of Approach, Cynthia Wall offers a close look at changes in perspective in spatial design, language, and narrative across the late eighteenth and early nineteenth centuries that involve, literally and psychologically, the concept of ‘approach’. In architecture, the term ‘approach’ changed in that period from a verb to a noun, coming to denote the drive from the lodge at the entrance of an estate “through the most interesting part of the grounds,” as landscape designer Humphrey Repton put it. The shift from the long straight avenue to the winding approach, Wall shows, swung the perceptual balance away from the great house onto the personal experience of the visitor. At the same time, the grammatical and typographical landscape was shifting in tandem, away from objects and Things (and capitalized common Nouns) to the spaces in between, like punctuation and the ‘lesser parts of speech’. The implications for narrative included new patterns of syntactical architecture and the phenomenon of free indirect discourse. Wall examines the work of landscape theorists such as Repton, John Claudius Loudon, and Thomas Whately alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and the novels of Defoe, Richardson, Burney, Radcliffe, and Austen to reveal a new landscaping across disciplines—new grammars of approach in ways of perceiving and representing the world in both word and image.

Cynthia Wall is professor of English at the University of Virginia. She is an editor of works by Bunyan, Defoe, and Pope, and the author of The Literary and Cultural Spaces of Restoration London and The Prose of Things: Transformations of Description in the Eighteenth Century, the latter also published by the University of Chicago Press.

C O N T E N T S

List of Illustrations
A Note on My Text
Acknowledgments

Introduction

1  The Architectural Approach
The etymology of ‘approach’ (n.s.)
The concept of approach (n.s. and v.): the ‘ancient’ and the ‘modern’ lines
The language of approach (v.): architectural and syntactical design
The traveler’s approach
The novelists approach

2  The Prepositional Building
The park gate lodge
The topographical view: angles and staffage
A Bridge to the next part: ‘A Village on, or across, the Thames‘

3  The Topographical Page
The typographical landscape
The letters on the page:
i. fonts
ii. capitals and italics
iii. catchwords
iv. pointing

4  The Grammar in Between
The rise of grammar
The rise of the preposition
Clarissa and the little words: the avenue and the approach
i. Richardson as printer
ii. Clarissa and prepositions
iii. Clarissa as prepostion

5  The Narrative Picturesque
Syntactical architecture in textual landscapes
i. Bunyan: “thinges . . included in one word”
ii. Defoe: “in a Word”
iii. Haywood: “In fine, she was undone”
The narrative picturesque
i. Radcliffe and the prepositional phrase
ii. Burney and the psychological interior
iii. Austen and the approach to the interior

Coda: A Topographical Page

Notes
Bibliography
Index

From Liverpool UP:

Pilar Diez del Corral Corredoira, ed., Politics and the Arts in Lisbon and Rome: The Roman Dream of John V of Portugal (Oxford: Voltaire Foundation/Oxford University Studies in the Enlightenment, 2019), 276 pages, ISBN: 978-1789620122, £65.