Enfilade

Published by PUR and available from ArtBooks.com:

Pascal-François Bertrand and Audrey Nassieu Maupas, eds., Arachné: Un regard critique sur l’histoire de la tapisserie (Rennes: Presses Universitaires de Rennes, 2017), 304 pages, ISBN: 978 27535 53927, 39€ / $68.

Médium polysémique, la tapisserie touche des domaines variés comme l’histoire politique, économique ou sociale. Médium complexe dans son élaboration, elle permet, en histoire de l’art à proprement parler, d’aborder des questions essentielles, comme celles de l’invention, de la reproduction ou de la réception, à travers notamment l’étude toujours renouvelée des rôles respectifs des différents intervenants dans son processus de création.

Avec le soutien du programme ANR Arachné de l’université Bordeaux Montaigne, de la région Aquitaine et de l’École pratique des hautes études.

T A B L E  D E S  M A T I È R E S

• Elsa Karsallah, Stéphanie Trouvé, Audrey Nassieu Maupas, et Pascal-François Bertrand, Introduction: Replacer la tapisserie au sein de l’histoire de la création artistique

I. Sens et politique
• Katherine Sowley, La femme, symbole de l’homme: La tenture de la Dame à la licorne et le rôle de la figure féminine dans la représentation du statut social
• Cindy Kang, Georges Rochegrosse, La Conquête de l’Afrique: Interweaving Technology and Colonialism
• Élisabeth Pillet, Les joies et les fêtes de Paris: Cartons de tapisseries d’Émile Gaudissard pour l’Hôtel de Ville, 1941–45

II. La France et l’étranger: diffusions et échanges
• Elizabeth Cleland, Cupid and Psyche from Brussels to Paris: Questions of Attribution and Augmentation of Sixteenth-Century Flemish Designs Repurposed in Seventeenth-Century French Tapestries
• Anne Rivoallan, L’art des lices et la Casa Raggi aux XVIIe et XVIIIe siècles
• Mei Mei Rado, Qing Imperial Encounters with European Tapestries: The Tenture chinoise and Beyond

III. Tapisserie et technique
• Astrid Castres, La tapisserie à l’aiguille au XVIe siècle: Pratique domestique ou œuvre de professionnels?
• Grace Chuang, Artisans, Chemists, and Administrators: Interactions at the Dyeing Workshop of the Manufacture Royale des Gobelins, 1665–1792

IV. Les manufactures royales au XVIIIe siècle: choix esthétiques
• Charissa Bremer-David, Rare Comedy: Oudry’s Molière for Beauvais
• Jean Vittet, Charles Coypel et la tenture des Fragments d’opéra, 1733–41
• Akiko Kobayashi, François Boucher et les tapisseries de Beauvais: Une approche dans le contexte de la rivalité avec la manufacture des Gobelins
• Marie-Hélène De Ribou, Une tapisserie de Thétis reçoit Apollon de Lagrenée retrouvée au Louvre: Compléments d’informations sur la tenture des Sujets mythologiques
• Florence Patrizi, Tapisseries néoclassiques: La tenture de Beauvais à bordures de grotesques

V. Tapisseries des XIXe et XXe siècles : la question de la modernité
• Zané Purmale, De la tapisserie-peinture à la tapisserie-décoration: Rapprocher la tapisserie et l’architecture au début de la IIIe République
• Agathe Le Drogoff, « Remonter aux sources de l’art vrai du passé »: Jules Diéterle, peintre et administrateur de la manufacture de Beauvais, 1876–82
• Sophie Guérin Gasc, Genèse de L’Été, première tapisserie de Dom Robert, 1941–42, à partir de la correspondance croisée entre ce dernier, Jean Lurçat et Paul Tabard

• Audrey Nassieu Maupas et Pascal-François Bertrand, Conclusion

Les auteurs
Crédits iconographiques

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From De Gruyter:

Kristina Deutsch, Claudia Echinger-Maurach, and Eva-Bettina Krems, eds., Höfische Bäder in der Frühen Neuzeit: Gestalt und Funktion (Berlin: De Gruyter, 2017), 360 pages, ISBN: 978 311050 1681, 80€.

Despite the dread of miasmas and puritanical beliefs, the bath was always an integral element of early modern courtly culture, but it has been insufficiently researched until now. The essays in this volume [Courtly Baths in the Early Modern Period: Design and Function] cover the architecture, equipment, functions, and the culture of the court bath as reflected in the visual arts. The focus is on the importance of the bath for representing a specific understanding of dominance and aristocratic life.

Trotz Angst vor Miasmen und Sittenstrenge war das Bad stets ein fester Bestandteil der frühneuzeitlichen Hofkultur. Bislang wurde er jedoch nicht umfassend untersucht. Die Beiträge widmen sich der Architektur, Ausstattung und Funktion von Schlossbädern seit der italienischen Renaissance bis zur Französischen Revolution. Komplexe ikonographische Deutungen und vielfältige Antikenbezüge in Architektur und Ausstattung veranschaulichen den hohen Anspruch des höfischen Bades. Neben noch bestehenden oder rekonstruierbaren Räumen geht es auch um Darstellungen in den Bildkünsten, wie etwa in den Gemälden der Dames au bain. Im Fokus steht die Rolle des Bades als Ausdruck des höfischen und adeligen Lebens, eines Herrschafts- und Machtanspruchs und von dessen Legitimierung.

I N H A L T S V E R Z E I C H N I S

Kristina Deutsch, Claudia Echinger-Maurach, Eva-Bettina Krems, Baden im Schloss? Eine Einführung in die Kunstgeschichte des höfischen Bades

Teil I: Zwischen Therme, Hamam und stufetta: Die Entstehung des frühmodernen Bades
• Hubertus Günther, Badekultur in der italienischen Renaissance
• Jens Niebaum, „I bagni così son da ordenare“: Vitruv, die balnea und die Architekten der Renaissance
• Sabine Frommel, Sebastiano Serlios „padiglione al costume di Franza“ in Fontainebleau und sein Beitrag für die Entwicklung der Badekultur am französischen Hof
• Stephanie Hanke, Zwischen Orient und Okzident: Bäder und Badekultur in Genua im 16. und 17. Jahrhundert

Teil II: Von der Kinderstube zum Alterssitz: Die Inszenierung fürstlicher Macht im Bad
• Anne Bloemacher, Das erste Bad Maximilians I. in der Historia Friderici et Maximiliani
• Kristina Deutsch, „Balnea, vina, Venus corrumpunt corpora nostra“? Die Badstube der Burg Trausnitz in Landshut
• Sophie Mouquin, „Cet appartement est dédié à la magnificence, & fait une des sept merveilles de Versailles“: Das Appartement des bains Ludwigs XIV. in Versailles
• Jan Pieper, Das Fürstenbad im Palazzo Ducale von Sabbioneta (1554–1591)

Teil III: Heimliche Blicke und dynastische Quellen: Die Symbolik höfischer Frauen- und Männerbäder
• Margot Thun-Rauch, Die Badewanne der Philippine Welser: Gesundheit und Genuss
• Sigrid Ruby, Macht und Ohnmacht des Privaten: Die Gemälde der dames au bain
• Ilaria Hoppe, Baden in Florenz: Kunst, Körper und Medizin
• Vera Herzog, Baden für die Dynastie: Die Symbolik des fürstlichen Badepavillons am Beispiel der Łazienka in Warschau und der Münchner Badenburg

Teil IV: Schaubäder? Funktionen des Schlossbades zwischen Rekreation und Politik
• Claudia Echinger-Maurach, „Mona Lisa im Bade“: Das Appartement des bains in Schloss Fontainebleau
• Antje Scherner, Ein Bad ohne Wasser? Das Marmorbad in Kassel und die Kasseler Bäder der Frühen Neuzeit
• Guillaume Nicoud, Le bain de Catherine II au Palais d’hiver de Saint-Pétersbourg
• Ralf Richard Wagner, Die „Maison de bain“ des Kurfürsten Carl Theodor von der Pfalz

Abbildungsnachweise
Tafelteil

From Thames & Hudson:

Patrick Baty, The Anatomy of Colour: The Story of Heritage Paints and Pigments (London: Thames & Hudson, 2017), 352 pages, ISBN: 978 05005 19332, $50.

Why were primary colors popular in postwar kitchens? Why did the Art Deco era prefer clean lines and pastel shades? This comprehensive illustrated history of the use of color and paint in interior decoration answers these questions and many more.

Drawing on his huge specialist archive, historian and paint expert Patrick Baty traces the evolution of pigments and paint colors together with color systems and standards, and he examines their impact on the color palettes used in interiors from the 1650s to the 1960s. He charts the creation in paint of the common and expensive colors made from traditional earth pigments between 1650 and 1799. He then explores the emergence of color systems and standards and their influence on paint colors together with the effect of industrialized production on the texture and durability of paints. Finally, Baty turns his attention to twentieth-century color standards. Woven throughout the authoritative and revealing text are specially commissioned photographs of pages from rare color reference books. Reproductions of interiors from home decor books, dating from every era, are included throughout, highlighting the distinctive color trends and styles of painting particular to each period.

Patrick Baty is a historian of architectural paint and color. He works as a consultant in the decoration of historic buildings and runs the family paint business Papers and Paints in London. He lectures and contributes regularly to magazines and journals.

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From Weidenfeld & Nicolson:

James Hamilton, Gainsborough: A Portrait (London: W&N, 2017), 448 pages, ISBN: 978 147460 0521, £25.

Frank, lucid and modern, this is a fresh portrait of Thomas Gainsborough, the most sensuous artist of the eighteenth century. Thomas Gainsborough (1727–1788) lived as if electricity shot through his sinews and crackled at his finger ends. He was a gentle and empathetic family man but had a volatility that could lead him to slash his paintings and a loose libidinous way of speaking, writing, and behaving that shocked many deeply. He would be dynamite in polite society today.

In this exhilarating new biography—the first in decades—James Hamilton reveals Gainsborough in his many contexts: the easy-going Suffolk lad, transported to the heights of fashion by a natural talent; the rake-on-the-make in London, learning his art in the shadow of Hogarth; falling on his feet when he married a duke’s daughter with a handsome private income; the top society-portrait painter in Bath and London who earned huge sums by bringing the right people into his studio; the charming and amusing friend of George III and Queen Charlotte who nevertheless kept clear of the aristocratic embrace.

There has been much art history written about this chameleon of art, but with fresh insights into original sources, Gainsborough: A Portrait transforms our understanding of this fascinating man and enlightens the century that bore him.

James Hamilton is an art and cultural historian. His books include Turner: A Life; Faraday: The Life, shortlisted for the James Tait Black Memorial Prize; and A Strange Business: Making Art and Money in Nineteenth-Century Britain, which in 2014 was named Art Book of the Year by The Sunday Times. Hamilton was, until retirement in 2013, curator of art collections and projects in Portsmouth, Wakefield, Sheffield, Leeds, and the University of Birmingham, where he is a Fellow of the Barber Institute of Fine Arts.

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Published by De Gruyter and available from ArtBooks.com:

Caroline van Eck, ed., Idols and Museum Pieces: The Nature of Sculpture, Its Historiography, and Exhibition History, 1640–1880 (Berlin: De Gruyter, 2017), ISBN: 978 31104 06917, 50€ / $58 / £41.

The publication of Winckelmann’s Geschichte der Kunst des Altertums in 1764 is considered as the defining moment in the genesis of the modern, scientific study of sculpture. It was a formalist and secular history, concentrating on the statue as a work of art, and studying sculpture in a museum setting, abstracting from its original religious, social or political functions. Other 17th- and 18th-century authors tried to understand those functions and why statues so often excited violent reactions ranging from adoration to abuse. The collection of essays aims to be a first investigation of the questions that arise out of an awareness that the origins of the Western historiography are much more complex than may appear from the perspective of Winckelmann’s vision of the Graeco-Roman tradition.

C O N T E N T S

• Erin Downey, Sculptures in Print, The Galleria Giustiniana as Exemplar and Agent of Taste
• Frits Scholten, The Amsterdam Ivories of Francis van Bossuit: Reception and Transformation in the Eighteenth Century
• Anne Ritz-Guilbert, La sculpture comme source historique: Les dessins de la collection de François-Roger de Gaignières (1642–1715)
• Anna C. Knaap, Sculpture in Pieces: Peter Paul Rubens’s Miracles of Francis Xavier and the Visual Tradition of Broken Idols
• Stijn Bussels, Medusa’s Terror in the Amsterdam Town Hall: How to Look at Sculptures in the Dutch Golden Age
• Ruurd Halbertsma, ‘Admirari vel deridere’: Calvinistic Approaches to Classical Sculpture in the Netherlands
• Hans Christian Hönes, Allegory, Ornament, and Prehistory’s ‘Secret Influence’: D’Hancarville versus Winckelmann
• Tomas Macsotay, Baron D’Hancarville’s Recherches on the Evolution of Sculpture: Submerged Emblems and the Collective Self
• Bram van Oostveldt, ‘Ut Sculptura Theatrum’: On the Relation between Theatre and Sculpture in the Late Eighteenth Century
• Pascal Griener, Plaster versus Marble: Wilhelm and Caroline von Humboldt and the Agency of Antique Sculpture
• Caroline van Eck, How Does an Idol enter a Museum? Immersion and Aesthetic Autonomy at the Musée Charles X in the Louvre
• Cecilia Hurley, La présentation du ‘paragone’ dans les dispositifs muséaux au XIXe siècle
• Thomas Beaufils, Idoles de l’Île de Nias: Origines d’un Entichement Musèal

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From Routledge:

Christina Lindeman, Representing Duchess Anna Amalia’s Bildung: A Visual Metamorphosis in Portraiture from Political to Personal in Eighteenth-Century Germany (New York: Routledge, 2017), 210 pages, ISBN: 978 147246 7386, $150.

The cultural milieu in the ‘Age of Goethe’ of eighteenth-century Germany is given fresh context in this art historical study of the noted writers’ patroness: Anna Amalia, Duchess of Weimar-Sachsen-Eisenach. An important noblewoman and patron of the arts, Anna Amalia transformed her court into one of the most intellectually and culturally brilliant in Europe; this book reveals the full scope of her impact on the history of art of this time and place. More than just biography or a patronage study, this book closely examines the art produced by German-speaking artists and the figure of Anna Amalia herself. Her portraits demonstrate the importance of social networks that enabled her to construct scholarly, intellectual identities not only for herself, but for the region she represented. By investigating ways in which the duchess navigated within male-dominated institutions as a means of advancing her own self-cultivation—or Bildung—this book demonstrates the role accorded to women in the public sphere, cultural politics, and historical memory. Cumulatively, Christina Lindeman traces how Anna Amalia, a woman from a small German principality, was represented as an active participant in enlightened discourses. The author presents a novel and original argument concerned with how a powerful woman used art to shape her identity, how that identity changed over time, and how people around her shaped it—an approach that elucidates the power of portraiture in eighteenth- and early nineteenth-century Europe.

Christina K. Lindeman is Assistant Professor of Art History at the University of South Alabama. A scholar of eighteenth-century art and material culture, she has contributed essays to edited volumes and Source.

C O N T E N T S

List of illustrations
Acknowledgments

Introduction
1  Setting the Stage
2  Composing a Musical Portrait
3  Representing the Female Grand Tourist
4  The Scientific Lady in Naples
5  Materializing Anna Amalia’s Bildung
6  Anna Amalia’s Gedenktafel: The Making of an Icon
Conclusion

Appendix A
Appendix B
Bibliography
Index