Exhibition | San Antonio 1718: Art from Viceregal Mexico
José de Páez, Mexican Castes (Castas mexicanas), (15 total), ‘1. De Español, e India, produce mestizo’, oil on canvas, 1780
(Private Collection)
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From the San Antonio Museum of Art:
San Antonio 1718: Art from Viceregal Mexico, A Tricentennial Exhibition
San Antonio Museum of Art, 17 February 2018 — 13 May 2018
Three hundred years ago the city of San Antonio was founded as a strategic outpost of presidios defending the colonial interests of northern New Spain and missions advancing Christian conversion. The city’s missions bear architectural witness to the time of their founding, but few have walked these sites without wondering who once lived there, what they saw, valued, and thought. San Antonio 1718: Art from Viceregal Mexico tells the story of the city’s first century through more than one hundred landscapes, portraits, narrative paintings, sculptures, and devotional and decorative objects, many of them never before exhibited in the United States. The exhibition is organized in three sections: People and Places, The Cycle of Life, and The Church.
San Antonio 1718 includes portraits of political and economic power, Spanish viceroys and military leaders who helped shape the destiny of the city. It explores the intrepid Franciscan missionaries who spearheaded the evangelization of the region, including Fray Antonio Margil de Jésus, known as the ‘Patron Saint of Texas’, and the religious figures who anchored their teachings such as the Virgin of the Immaculate Conception and her American manifestation, the Virgin of Guadalupe. Many works are more personal: portraits of poised young women whose marriages will solidify status, aspirational paintings of young families at home, nuns depicted at the threshold of their vows or at their death, intimate miniatures of lovers and soldiers, post-mortem portraits of infants. Throughout, the works invoke the lineage and authority of mainland Spain, while revealing the lives and times of San Antonio’s earliest inhabitants.
Celebrating the city’s deep Hispanic roots and cultural ties with Mexico, San Antonio 1718 features works by New Spain’s most talented eighteenth-century artists, including Cristόbal de Villalpando (1649–1714), Miguel Cabrera (1695–1768), and José de Páez (1720–1790), as well as pieces by talented unknown vernacular artists.
Marion Oettinger, ed., with essays by Jaime Cuadriello, Cristina Cruz González, Ray Hernández-Durán, Katherine Luber, and Gerald Poyo, San Antonio 1718: Art from Mexico (San Antonio: Trinity University Press, 2018), 288 pages, ISBN: 9781595348340, $33.
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Note (added 19 February 2018) — The original posting did not include the catalogue details.
New Book | The Jewish Journey: 4000 Years in 22 Objects
Distributed by ACC Publishing:
Rebecca Abrams, The Jewish Journey: 4000 Years in 22 Objects from the Ashmolean Museum (Oxford: Ashmolean Museum, 2017), 232 pages, ISBN: 978 191080 7033, $20.
The 22 objects include pottery, coins, jewelry, household artifacts, sacred items, musical instruments and paintings. Together they bring to life the experiences of the real men and women who owned, made and used them, from kings, courtiers and scholars to guerrilla fighters, musicians and market stall holders. Individually and collectively, the objects vividly document dark periods of persecution and forced migration, whilst highlighting the astonishing resilience and diversity of Jewish life, revealing centuries of two-way interaction with many other cultures and religions. Through the histories of each of the objects, the reader is guided on a double journey, one leading through the galleries of the Ashmolean, the other accompanying the Jewish people across the centuries. The Jewish Journey brings to light for the first time the amazing Jewish treasures in the Ashmolean Museum, explaining their specifically Jewish significance in a direct, accessible style for the general reader.
The Jewish Journey is unique in three respects. First, it is a short, accessible, illustrated history of the Jewish people aimed at the general public. Secondly, the book is unique in highlighting Jewish objects drawn from the permanent collection of a world-renowned public museum. Jewish history is more normally confined to dedicated Jewish museums. This book breaks new ground by showing Jewish history in its wider historical, social and cultural context. In addition, it presents objects that reflect on daily life over the centuries, e.g. family, marriage, trade, travel, rather than the more common depictions of artifacts for sacred and religious use. Thirdly, the Jewish significance of these particular 22 objects has until now been overlooked. This book draws them together for the first time to highlight their specific relevance to Jewish history, revealing both distinctive features of Jewish experience and evidence of centuries of close interaction with other cultures and religions.
Rebecca Abrams is an award-winning author of both fiction and non-fiction. Her most recent book, Touching Distance, won the MJA Open Book Award and was shortlisted for the McKitterick Prize for Literature. A graduate of Newnham College, Cambridge, she is a longstanding tutor in Creative Writing at the University of Oxford, before which she was an Honorary Teaching Fellow on the Warwick University Writing Programme and 2014 Gladstone’s Library Writer-in-Residence. She has recently been appointed a Royal Literary Fund Writing Fellow. A regular literary critic for the Financial Times and a former columnist on The Daily Telegraph, she has written extensively for the UK national press and is the recipient of an Amnesty International Press Award.
Exhibition | From Life
Thomas Rowlandson, Drawing from Life at the Royal Academy, (Somerset House), hand-coloured aquatint by A. C. Pugin and Thomas Rowlandson published in Ackermann’s The Microcosm of London, 1 January 1808. 20 × 26 cm (London: Royal Academy of Arts).
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Press release from the RA for the exhibition:
From Life
Royal Academy of Arts, London, 11 December 2017 — 11 March 2018
Curated by Adrian Locke
The Royal Academy of Arts presents From Life, a special exhibition project taking place across two distinct spaces: the Sackler Wing of Galleries and the Tennant Gallery. From Life examines what making art from life has meant to artists throughout history and how the practice is evolving as technology opens up new ways of creating and visualising artwork.
Drawing from casts of Classical and Renaissance sculpture and life models was long considered essential training for any aspiring artist, and was once a staple of the RA Schools, Britain’s longest established fine art school. Beginning with a display of historic paintings and works on paper drawn from the RA Collection, From Life explores the practice of life drawing, from the origins of the Royal Academy in the 18th century to the present day, whilst also looking to the future. Historic paintings by artists such as Johann Zoffany are followed by works in a diverse range of media by contemporary artists, including Jeremy Deller’s Iggy Pop Life Class (2016), Cai Guo-Qiang’s film One Thousand Youngsters Drawing David (2010), and Jenny Saville’s Entry (2004). From Life also presents work by Royal Academicians who continue to interrogate the practice of working from life, among them Antony Gormley, Chantal Joffe, Michael Landy, and Gillian Wearing.
Liane Lang, Casts Series (Royal Academy), Ars Equina, 2006–07, c-type photographic print.
For the first time the Royal Academy is working with artists exploring emerging technologies, which presents them with new ways to both observe and represent themselves and the world around them. Farshid Moussavi RA, Humphrey Ocean RA, Yinka Shonibare RA, and Jonathan Yeo have experimented with virtual reality technologies, creating new artwork for the exhibition using virtual reality platform HTC Vive, Tilt Brush by Google, and artistic software programmes, including MakeVR Pro. Farshid Moussavi’s VR experience transports visitors into masterpieces of ecclesiastical architecture, which they can adapt and transform themselves, while creative technology and content studio Happy Finish have worked with Yinka Shonibare to develop a three-dimensional rendering of a neo-classical painting, featuring a cast of Venus dressed in Shonibare’s trademark batik fabric. Meanwhile, Humphrey Ocean invites audiences to create their own three-dimensional sketches within a playful virtual environment centred on the artist’s fascination with chairs.
From Life reveals the creative process in making these new artworks, as well as opening up the exciting potential of future artistic applications of virtual reality. HTC Vive has supported the development of these works, which will also be available for audiences to experience at home on Viveport, HTC’s global VR app store. Artist Jonathan Yeo has collaborated with Google Arts & Culture to create the first physical free-standing sculpture in metal made by using Tilt Brush, his creative process is captured in a VR film to be published on Google Arts & Culture Youtube channel. The visitors’ experience of the virtual reality element within the exhibition will depend on availability. As each virtual reality artwork can only be experienced individually, access cannot be guaranteed.
Tim Marlow, Artistic Director of the Royal Academy of Arts said: “This is an experimental project that explores everything from artistic process to technological evolution and creative collaboration. In a sense, From Life embodies what an artist-run academy was, is and might become.”
Sky Arts have commissioned immersive content studio Factory 42 to produce a documentary entitled Virtual Reality: Mystery of Creativity, which explores creating art in a virtual environment and how artists use these cutting-edge technologies to explore the limits of traditional artistic methods. There are also a series of short films across the Royal Academy’s online platforms, as well as available via the Sky VR and Google Arts & Culture apps.
To coincide with From Life and as part of the 250th anniversary celebrations in 2018, the Royal Academy is offering free life drawing classes for 250 people of all abilities in the historic Life Room in the RA Schools [dating to the 1860s]. Each class is for a particular group that has a special relationship with either the RA, drawing, or the human body, from members of the Royal Academy’s outreach programmes to nurses and architects. The guest tutors will not be revealed until the life drawing class begins. The project will be documented by online features and videos. The RA is also inviting the public and Friends of the RA to participate through an open ballot to win 50 places at the following free classes, led by guest tutors who will be revealed on the day. Enter the ballot here.
13 December 2017 (10.30am–1.30pm), exclusive to Friends of the RA
24 January 2018 (10.30am–1.30pm), open to all
Sam Phillips, ed., Artists Working From Life (London: Royal Academy, 2017), 160 pages, ISBN: 978 19103 50904, £22.
From Michelangelo’s marbles to photographer’s self-portraits, artists have always been fascinated by their creative encounters with the human body. Often a key part of their early training, drawing and sculpting from life go on to inform their later work in unexpected and inspiring ways. This illuminating publication brings together interviews with over 19 artists from all disciplines, including painters, sculptors and conceptual artists, working in a variety of different media. Through in-depth conversations with them, the authors explore the many ways artists work ‘from life’: from Jeremy Deller’s open life class with Iggy Pop as model, to Jonathan Yeo’s innovative use of 3D scanners and virtual reality. The interviews are written by contributors including Caroline Bugler, Martin Gayford, Laura Gascoigne, Angela Kingston, Adrian Locke, Ben Luke, Sam Phillips, and Michael Prodger. The book is introduced by an essay on the history of life drawing by Annette Wickham, the Royal Academy’s Curator of Works on Paper.
Sam Phillips is editor of the Royal Academy of Arts Magazine.
New Book | Revolutionary Paris and the Market for Netherlandish Art
From Brill:
Darius Spieth, with a foreword by Marc Fumaroli, Revolutionary Paris and the Market for Netherlandish Art (Leiden: Brill, 2017), 514 pages, ISBN: 978 90043 36988, €116 / $134.
Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, has never attracted much subsequent attention. Darius Spieth’s Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of ‘Golden Age’ pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
Darius A. Spieth, PhD University of Illinois at Urbana-Champaign, is Professor of Art History at Louisiana State University. He is the editor of the Grove Guide to Art Markets and Collecting (forthcoming), and author of Napoleon’s Sorcerers: The Sophisians (2007).
C O N T E N T S
Acknowledgements
Foreword by Marc Fumaroli
List of Illustrations
A Note on Currencies
1 From Eyesores to Blue Chip Art
Origins of the Parisian Marketplace for Netherlandish Painting
Art Publications and the Dissemination of Information
France as International Tastemaker for Golden Age Art After 1740
Royal Collections and Northern Masters, 1777–1792
The Twilight of the Auction Business, 1775–1825
The Fate of Golden Age Art Under Terror and Inflation
The Louvre and the ‘Artistic Conquests’ in Belgium and the Netherlands
The Post-Revolutionary Market for Netherlandish Art
The Expanding Mass Market for Copies and the Rise of the Bourgeoisie
Golden Age Art and Popular Culture
Netherlandish versus Italian Art
The Parisian Apartment: A Bourgeois Space for Art
2 On the Art of Surviving the Revolution: Jean-Baptiste Pierre Lebrun
Art Dealer to the Ancien Régime’s Elite, 1776–1789
Painful Adjustments, 1789–1795
Co-Conspirator of Jacques-Louis David, 1792–1794
From The Ministry of Finance to the Louvre, 1794–1799
A Long Good-Bye from the Louvre, 1799–1803
A Difficult Comeback as Dealer-Expert, 1801–1804
Deceptions of the Napoleonic Age, 1807–1813
3 A Long Good Bye to the Palais Royal: The Northern Pictures in the Orléans Collection
The Art Collections in the Palais Royal until 1780
Inside the Art Deal of the Century
The Netherlandish Pictures of the Palais Royal Collection
A Look Inside the Galeries De Bois
4 Liberty’s Toll on Beauty’s Price
Myths and Realities of the Parisian Auction Market in the 1790s
Turnover of the Parisian Art Auction Market and its Economic Context, ca. 1775–1850
The Evolution of Prices for Netherlandish Art in Revolutionary Paris
Bidding Wars: The Picture Trade with Great Britain
The ‘Guilty Industry’ and Netherlandish Art
5 Netherlandish Art in France: A History of Taste and Money across Three Centuries
Poussinists versus Rubenists
The Marquis D’argens and Academic Prejudices Against Northern Art
The Re-Evaluation of Netherlandish Aesthetics from David to Thoré
The Politicization of Nehterlandish Art in the Nineteenth Century
Class, Taste, and the First Art Price Rankings
Appendix
Bibliography
Photograph Credits
Index
New Book | Artisanal Enlightenment
From Yale UP:
Paola Bertucci, Artisanal Enlightenment: Science and the Mechanical Arts in Old Regime France (New Haven: Yale University Press, 2017), 312 pages, ISBN: 978 03002 27413, $40.
What would the Enlightenment look like from the perspective of artistes, the learned artisans with esprit, who presented themselves in contrast to philosophers, savants, and routine-bound craftsmen? Making a radical change of historical protagonists, Paola Bertucci places the mechanical arts and the world of making at the heart of the Enlightenment. At a time of great colonial, commercial, and imperial concerns, artistes planned encyclopedic projects and sought an official role in the administration of the French state. The Société des Arts, which they envisioned as a state institution that would foster France’s colonial and economic expansion, was the most ambitious expression of their collective aspirations. Artisanal Enlightenment provides the first in-depth study of the Société, and demonstrates its legacy in scientific programs, academies, and the making of Diderot and D’Alembert’s Encyclopédie. Through insightful analysis of textual, visual, and material sources, Bertucci provides a groundbreaking perspective on the politics of writing on the mechanical arts and the development of key Enlightenment concepts such as improvement, utility, and progress.
Paola Bertucci is associate professor of history at Yale University. She has published extensively on the public culture of science in eighteenth-century Europe, and is the author of prize-winning essays on secrecy, selective visibility, and industrial travel in the Enlightenment.
Print Quarterly, December 2017
The eighteenth century in the current issue of Print Quarterly:
Paul Sandby, The Fire of Faction. The Fly Machine for Scotland, 1762, etching (London: The British Museum).
Print Quarterly 34.4 (December 2017)
A R T I C L E S
• Aaron M. Hyman, “Patterns of Colonial Transfer: An Album of Prints in Mexico City,” pp. 393–99.
“The rediscovery of an album of European prints in Mexico City promises to fill in some of the scholarly gaps by bringing to roughly 500 the number of extant, loose-leaf European prints in Mexico that survive from the colonial period—vastly more than scholars were aware of only a decade ago. . . The album is loosely organized chronologically and by national schools, with the earliest prints appearing at the beginning, followed by the eighteenth-century material that constitutes most of it.”
• Ann V. Gunn, “The Fire of Faction: Sources of Paul Sandby’s Satires of 1762–63,” pp. 400–18.
“On 23 September 1762, ‘The Butifyer, a touch on the times. Also a poor man loaded with mischief, or John Bull and his sister Peg . . . Likewise the Fire of Faction’ were announced in The Public Advertiser, the first of three of a series of seven satirical prints created by Paul Sandy (1731–1809) in late 1762 during the negotiations for the Treaty of Paris that ended the Seven Years’ War . . . This group, however, has never been examined as a whole before. This article discusses the context within which these prints were made and identifies the imagery and literary sources employed in them.”
N O T E S A N D R E V I E W S
• Louis Marchesano, Review of Kristina Deutsch, Jean Marot: Un graveur d’architecture à l’époque de Louis XIV (Berlin: De Gruyter, 2015), pp. 437–38.
• James Grantham Turner, Review of an issue of Casabella 856 (December 2015), dedicated to the Fondazione Querini Stampalia’s 2016 exhibition Giulio Romano’s I Modi and the Modi of of Carlo Scarpa and Alvaro Siza, which featured drawings by two modern architects with sexually explicit Italian prints from the sixteenth to nineteenth centuries, pp. 441–42.
• Antony Griffiths, Review of the exhibition catalogue Freyda Spira and Peter Parshall, The Power of Prints: The Legacy of William M. Ivins and A. Hyatt Mayor (New Haven: Yale University Press, 2016), pp. 468–70.
P U B L I C A T I O N S R E C E I V E D
• Sharon Liberman Mintz, Shaul Seidler-Feller, and David Wachtel, eds., The Writing on the Wall: A Catalogue of Judaica Broadsides from the Valmadonna Trust Library (London: Valmadonna Trust Library, 2015), p. 462.
• Christien Melzer, ed., Im Zeichen der Lilie: Französische Druckgraphik zur Zeit Ludwigs XIV (Bremen: Kunstverein Bremen, 2017), pp. 462–63.
• Petra Zelenková, Jan Kupecký a ‘černé umění’ / Johann Kupezky (1666–1740) and ‘The Black Art’ (Prague: National Gallery, 2016), p. 463.
• Anna Schultz, Johann Gottlieb Glume (1711–1778): Das Druckgraphische Werk (Berlin: Galerie Bassenge, 2016), p. 463.
• Laura Moretti, Recasting the Past: An Early Modern ‘Tales of Ise’ for Children (Leiden: Brill, 2016), p. 463.
Exhibition | The Business of Prints
Press release (via Art Daily) for the exhibition:
The Business of Prints, 1400–1850
The British Museum, London, 21 September 2017 — 28 January 2018
Curated by Antony Griffiths
The British Museum has one of the greatest collections of prints in the world and holds the UK’s national collection. The majority of this collection, which totals more than two million prints, was made in the years before the invention of photography. Due to the sheer volume of the collection it can become difficult to grasp its contents, and many of the prints are today very unfamiliar and puzzling. For the past century, prints have usually been discussed either as finished works of art or as illustrations of a particular subject. This exhibition reverses the perspective in a way that has not been attempted before, and endeavours to show prints as an object of trade.
The exhibition The Business of Prints is in part based on the book The Print before Photography: An Introduction to European Printmaking, 1550–1820 by Antony Griffiths, published last year by British Museum Press. This won the Apollo Prize for the best art book of the year 2016. It is the first work ever to attempt to explain how the print world worked.
The exhibition focuses on four major topics: the production of prints, the lettering on prints, the usage of prints, and the collecting of prints and the concern for quality. In addition, books and series are being shown in table cases, and framed prints on the wall. Famous works by artists such as Dürer, Rembrandt, and Goya are being shown alongside far less familiar subjects by artists of the print trade who have almost been forgotten. Among them is a rabbit used as target practice, a prompt for an early form of karaoke, and prints from plates that had been so heavily used that they had almost worn out. The display offers a more complete understanding of the lettering on prints, the information it gives us, and some of the complicated ways in which images were linked with text.
We are now so used to the deluge of photographically-derived imagery of the modern world that it is difficult to imagine a period which lasted for nearly 450 years, from around 1400 to 1850, when every pictorial image had to be designed by someone and then cut by a craftsman onto a copper plate or wooden block—there were no mechanical aids. These were then printed by another expert, and distributed by printsellers to buyers around the whole of Europe. Behind them stood the publishers and entrepreneurs, who financed the production, and frequently came up with ideas for new subjects. It was a huge business, which gave work to thousands of people. The exhibition sheds light on this forgotten trade of mass production which required numerous collaborations in order to produce a single print, whilst revealing some of the complexities of the craftsmanship and the process, the varied nature of the prints themselves, and the ways in which buyers used or collected them.
Johannes Gutenberg invented moveable type in Mainz in the late 1440s. However, type is designed to deal with words, and as soon as the need to communicate goes beyond the verbal, the support of another variety of printing must be called on—one that is specifically suited for images. Two such technologies were used alongside type, one based around cutting designs into wooden blocks (the relief process of woodcut), the other in which the design was incised as lines into a copper plate (the intaglio processes such as engraving and etching).
The uses to which these technologies were put were enormously varied. The printing of maps and music, wallpaper, diagrams, decorative paper, bank notes, playing cards and fans, as well as many types of decoration of textiles and ceramics, depended on woodcut or engraving. Many of these applications spun off to become separate businesses. In museums the field is conventionally narrowed to one area of this vast expanse, that of pictorial images on sheets of paper. This is still very wide, covering a wide range of functions, such as portraits, devotional images, current events, landscape and topography, caricature, fantasy and designs for the decorative arts. Many of these classes of print did not need the support of typography, and most intaglio prints carried their text engraved on the plate itself alongside the image. One example that demonstrates the volume and diversity of the European print trade is the mass production of the recognisable image of a devotional saint which would have been sold by pedlars and worn as amulets by peasants. These were often printed on vellum, a more durable material than paper, to withstand daily wear and tear.
When speaking of the display, curator Antony Griffiths highlights that “this is the first exhibition ever to demonstrate what prints can tell us about the vast business of trading prints. The exhibition aims to open the visitor’s eyes to the business of printing. Prints were multiples made in the hope that people would buy lots of them. The range of subjects, sizes and purposes was huge—far larger than people realise today.”
New Book | Edward the Black Prince in Georgian and Victorian England
From Boydell & Brewer:
Barbara Gribling, The Image of Edward the Black Prince in Georgian and Victorian England: Negotiating the Late Medieval Past (London: Royal Historical Society, 2017), 189 pages, ISBN: 9780861933426, $90.
During the Georgian and Victorian periods, the fourteenth-century hero Edward the Black Prince became an object of cultural fascination and celebration: he and his battles played an important part in a wider reimagining of the British as a martial people, reinforced by an interest in chivalric character and a burgeoning nationalism. Drawing on a wealth of literature, histories, drama, art, and material culture, this book explores the uses of Edward’s image in debates about politics, character, war, and empire, assessing the contradictory meanings ascribed to the late Middle Ages by groups ranging from royals to radicals. It makes a special claim for the importance of the fourteenth century as a time of heroic virtues, chivalric escapades, royal power, and parliamentary development, adding to a growing literature on Georgian uses of the past by exposing an active royal and popular investment in the medieval. Disputing current assumptions that the Middle Ages represented a romanticized and unproblematic past, it shows how this investment was increasingly contested in the Victorian era.
C O N T E N T S
Introduction
Royal Associations: Heroic Character and Chivalric Ceremony at the Court of George III
Prince George Reclaims the Heroic? Transition, Ambition, and Domesticity
Chivalry and Politics in Victoria’s Early Reign: Art, Exhibitions and Palace Renditions
Politics, Parliament, and the People’s Prince
Emulating Edward? Redefining Chivalry and Character
Warrior for Nation and Empire
Conclusion
New Book | Exiles in a Global City: The Irish and Early Modern Rome
From Brill:
Clare Lois Carroll, Exiles in a Global City: The Irish and Early Modern Rome, 1609–1783 (Leiden: Brill, 2017), 342 pages, ISBN: 978 900433 5165, €149 / $172.
In Exiles in a Global City, Clare Carroll explores Irish migrants’ experiences in early modern Rome and interprets representations of their cultural identities in relation to their interaction with world-wide Spanish and Roman institutions. This study focuses on some sources in Roman archives not previously considered by Irish historians. The book examines a wide array of cultural productions—Ó Cianáin’s account of O’Neill’s progress from Ireland to Rome, Luke Wadding’s history of the Franciscan order, the portraits at S. Isidoro, the first printed Irish grammar, the letters of Oliver Plunkett, the records of a hospice for converts, Charles Wogan’s memoir, and reports on the national college—for how they transformed emerging senses of an Irish nation.
Clare Carroll (Professor of Comparative Literature, Queens College and The Graduate Center, CUNY) is the author of Circe’s Cup: Cultural Transformations in Early Modern Ireland (Cork UP, 2001) and editor of Ireland and Postcolonial Theory (Cork, 2003).
C O N T E N T S
Acknowledgements
List of Illustrations
Introduction
1 The ‘Nation’ in Rome: Ó Cianáin’s “Pilgrimage of the Earls” (1609)
2 The Exile as Historian: Luke Wadding’s Annales Minorum (1625–54) between Global and Local Affiliations
3 The Transculturation of Exile: Visual Style and Identity in the Frescoes of the Aula Maxima at St. Isidore’s (1672)
4 A Poetic Anthology for Exiles: Irish Cultural Memory in the First Printed Gaelic Grammar (1677)
5 The Return of the Exile: Oliver Plunkett between Rome and Ireland
6 Irish Protestants in the Theater of the World: The Apostolic Hospice for the Converting, Rome, 1677–1745
7 The Romance and Disillusionment of Exile: Charles Wogan and his Memoir of Clementina Sobieska
8 ‘The Spiritual Government of the Entire World’: A Memorial for the Irish College Rome, January 1783
Conclusion
Appendix 1: Comparison of GLH with manuscript Grammars
Appendix 2: Index of first lines in Grammatica Latino-Hibernica
Appendix 3: List of Irish Guests at the Ospizio Apostolico dei Convertendi
Bibliography
Index
Exhibition | Napoleon: The Imperial Household
On this day, 2 December, in 1804, Napoleon became emperor of the French. This exhibition exploring the imperial household opens in February in Montreal:
Napoleon: The Imperial Household / Napoléon: La maison de l’empereur
Montreal Museum of Fine Arts, 3 February — 6 May 2018
Virginia Museum of Fine Arts, Richmond, 9 June — 3 September 2018
Nelson-Atkins Museum of Art, Kansas City, 4 October 2018 — 13 January 2019
Musée National du Château de Fontainebleau, 13 April — 15 July 2019
Joseph Franque, Empress Marie-Louise Watching over the Sleeping King of Rome, 1811 (Châteaux de Versailles et de Trianon).
The Imperial Household was a key institution during the reign of Napoléon Bonaparte (1769–1821). It was responsible for the daily lives of the Imperial family and the day-to-day existence of former general Bonaparte, who became Emperor Napoleon in 1804. Napoleon: The Imperial Household aims to re-create the ambience and capture the spirit that prevailed in the French court during the Empire. A selection of works and objets d’art, most of which have never before been exhibited in North America, will reveal the Imperial Household’s role in fashioning a monarchic identity for the new emperor who ruled France following the Revolution, as well as his family and loyal entourage.
The Imperial Household consisted of six departments, each headed by a grand officer, a high-ranking dignitary of the Empire: the grand chaplain, grand master of ceremonies, grand marshal of the Palace, grand master of the hunt, grand chamberlain and grand equerry were each involved in orchestrating every minute of the pageantry in the Court. This is another aspect of the Napoleonic saga that will be presented here, with more than 250 works in which the fine arts and decorative arts were used for purposes of ideology and official propaganda.
Sylvain Cordier, Napoleon: The Imperial Household (New Haven: Yale University Press, 2018), 350 pages, ISBN: 978 030023 3469, $50 / £40.
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Note (added 17 August 2018) — The posting was updated to include dates for venues other than Montreal. It’s also worth noting that the exhibition title varies according to location; in Richmond and Kansas City it’s called Napoleon: Power and Splendor.
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