Enfilade

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.

Save

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.

Save

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

Save

Save

Save

Save

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

From PUR:

Valérie Kobi, Dans l’œil du connaisseur: Pierre-Jean Mariette (1694–1774) et la construction des savoirs en histoire de l’art (Rennes: Presses Universitaires de Rennes, 2017), 322 pages, ISBN: 978 27535 53149, 28€.

En partant du cas singulier du collectionneur Pierre-Jean Mariette (1694–1774), cet ouvrage vise à mieux définir les étapes qui jalonnent la formation des connaissances en histoire de l’art au xviiie siècle et, plus largement, à questionner le rôle joué par la figure du connaisseur dans cette dynamique. En somme, il s’agit de répondre aux interrogations suivantes : sur quels éléments repose la réputation de l’amateur et comment s’organise la reconnaissance de son autorité par ses pairs ? Quels sont les instruments, matériels ou intellectuels, déployés par l’expert ? Et, finalement, sous quelles formes se présente son savoir lorsqu’il se matérialise par l’écrit ?

Dans ce but, l’identité et l’activité de Mariette se trouvent ici interrogées à travers six chapitres thématiques scindés en deux parties. La première, intitulée La naissance d’un amateur, analyse l’émergence de la figure de l’amateur à travers trois moments-clés : la constitution d’une identité, le voyage d’Italie et l’insertion de l’érudit dans la République des Lettres. La seconde, dévouée aux Savoirs mis en œuvre, examine les modalités de la divulgation scientifique, de ses modèles théoriques à ses représentations visuelles.

Plus qu’un panorama exhaustif d’une pensée savante, le développement suivi enquête sur la façon dont le livre devient, au cours du xviiie siècle, un véritable laboratoire des savoirs ; un espace privilégié où se déroule, entre amateurs, le débat qui participe à l’élaboration d’une connaissance empirique dans le domaine de l’histoire de l’art. À cet égard, la présente étude pose non seulement un regard nouveau sur l’apport de Pierre-Jean Mariette au champ historique mais elle réfléchit aussi de manière originale aux pratiques socio-culturelles et aux enjeux esthétiques qui façonnent la discipline à l’époque des Lumières.

Valérie Kobi a reçu son doctorat en histoire de l’art de l’université de Neuchâtel (Suisse). Elle a été boursière à l’Institut suisse de Rome, au Getty Research Institute et à la Ludwig-Maximilians-Universität München. Depuis mai 2015, elle mène ses recherches postdoctorales entre Bielefeld et Weimar dans le cadre du projet Parergonale Rahmungen. Zur Ästhetik wissenschaftlicher Dinge bei Goethe.

T A B L E  D E S  M A T I È R E S

Remerciements
Préface de Pascal Griener

Introduction

Première partie: La naissance d’un amateur
Destinée historiographique
Un œil poli: La formation d’un amateur entre préjugés et émancipation
Cultiver les muses: Transactions érudites et collaborations scientifiques au sein de la République des Lettres
Conclusion

Seconde partie: Les savoirs mis en œuvre
Le catalogue comme modèle de connaissance
L’esprit de l’original et les protocoles de la reproduction
Mariette et Bouchardon : la rhétorique d’une amitié
Conclusion

Conclusion générale

Annexes
Bibliographie
Index
Table des illustrations

From Viella and available from ArtBooks.com:

Beatrice Alfonzetti, ed., Settecento romano: Reti del Classicismo arcadico (Rome: Viella, 2017), 532 pages, ISBN: 978 88672 88571, 50€ / $75.

Questo libro—nato da una ricerca d’équipe composta da letterati, storici dell’architettura, dell’arte e della musica—propone per la prima volta di unificare sotto la categoria di Classicismo arcadico tutto ciò che si crea ed elabora a Roma dalla fondazione dell’Arcadia in avanti. Non valida, ad esempio, per Torino, questa estensione permette di superare le viete periodizzazioni come la divisone per secoli fra Sei e Settecento o fra il primo e il secondo Settecento; e ci consente finalmente di intravedere la continuità, tutta romana, fra l’idea del bello di Bellori, la ragione poetica di Gravina, il recupero del tragico di Alfieri e Monti, tutti attivi, dall’inizio alla fine del secolo, proprio a Roma, accanto a Mengs, Füssli, Winckelmann, David. Al centro l’Arcadia che, con le acclamazioni o iscrizioni di cardinali, principi, sovrani, letterati, artisti di passaggio o residenti a Roma, era riuscita nell’impresa di fondare una repubblica letteraria sovranazionale che guardava persino a Voltaire. Era all’avanguardia, allora, Roma nelle arti, nelle accademie, nelle biblioteche, nei teatri e nella letteratura sinora chiamata neoclassica.

C O N T E N T S

Beatrice Alfonzetti, Introduzione

Parte prima

I. Il Classicismo restaurato
• Amedeo Quondam, Roma 1672: il Classicismo restaurato. L’idea del bello e il canone delle arti secondo Bellori

Parte seconda

I. L’Arcadia e la Roma di Clemente XI
• Valentina Gallo, La Basilissa: Cristina di Svezia in Arcadia
• Javier Gutiérrez Carou, Endimione fra Alessandro Guidi e Francesco de Lemene: drammaturgia, spettacolo, struttura dei finali
• Marina Formica, Dominare il tempo. Clemente XI e i tentativi di riforma del calendario
• Simone Caputo, Il ‘teatro della festa’ nella Roma di Clemente XI

II. Il Classicismo arcadico
• Franco Piperno, Architettura e musica nella Roma del Classicismo arcadico
• Angela Cipriani, Un secolo di premiazioni in Campidoglio (1696–1795). Le quattro arti liberali in mutuo soccorso
• Nicola Badolato, Il Ciro di Pietro Ottoboni e Alessandro Scarlatti e gli allestimenti operistici romani di Filippo Juvarra
• Massimo Zammerini, Architettura e scenografia nella Roma del Settecento
• Ilaria Delsere, L’Arcadia alla corte pontificia: la collaborazione tra Ludovico Sergardi e Antonio Valeri alla Fabbrica di San Pietro (1713–1726)
•  Valter Curzi, Memoria dell’antico nella pittura di storia a Roma tra Seicento e Settecento: un contributo per la revisione storico-critica del Neoclassicismo
• Silvia Tatti, L’Arcadia di Crescimbeni e il trionfo della poesia: l’incoronazione in Campidoglio del 1725
• Alviera Bussotti, La recita del Temistocle di Michele Giuseppe Morei: tra Zeno e Metastasio
• Roberto Gigliucci, Il cardinale Pietro Ottoboni tra San Filippo Neri e San Casimiro

III. L’Arcadia: una rete transnazionale
• Maurizio Campanelli, I Sermones di Giovan Battista Casti (1762–1764)
• Elodie Oriol, Mecenatismo e sviluppo delle carriere musicali: il ruolo delle famiglie Acquaviva, Stuart e Albani nella Roma settecentesca
• Piermario Vescovo, Goldoni: vacanze romane
• Rosanna Cioffi, Tra Arcadia e Neoclassicismo. Da Maratti a Mengs nel segno di Shaftesbury e Winckelmann
• Marina Caffiero, Dal monastero al salotto alla tribuna. La mediazione culturale femminile nella Roma di metà Settecento
• Beatrice Alfonzetti, Poeti italiani e stranieri nelle adunanze arcadiche
• Andrea Fabiano, Astacide Tespio ovvero Poinsinet le Noyé (le Mystifié): un librettista comico francese in Arcadia
• Franca Sinopoli, Giovanni Battista Audiffredi e la realizzazione del modello di biblioteca universale
• Antonio Rostagno, Il ‘nuovo Dante’ nella musica. Dante e Petrarca in due manoscritti romani di Nicolò Antonio Zingarelli
• Orietta Rossi Pinelli, Gli artisti stranieri a Roma nel XVIII secolo

Indice dei nomi

Save

Save

Scheduled for publication this fall from Brill:

Daniela Hacke and Paul Musselwhite, eds., Empire of the Senses: Sensory Practices of Colonialism in Early America (Leiden: Brill, 2017), ISBN: 978 90043 40633, 135€ / $156.

Empire of the Senses brings together pathbreaking scholarship on the role the five senses played in early America. With perspectives from across the hemisphere, exploring individual senses and multi-sensory frameworks, the volume explores how sensory perception helped frame cultural encounters, colonial knowledge, and political relationships. From early French interpretations of intercultural touch, to English plans to restructure the scent of Jamaica, these essays elucidate different ways the expansion of rival European empires across the Americas involved a vast interconnected range of sensory experiences and practices. Empire of the Senses offers a new comparative perspective on the way European imperialism was constructed, operated, implemented and, sometimes, counteracted by rich and complex new sensory frameworks in the diverse contexts of early America.

Daniela Hacke is Professor of Early Modern History at the Free University of Berlin. She has published monographs, translations and many articles on European Gender and Cultural History and is currently researching a History of the Senses in Venice.
Paul Musselwhite is Assistant Professor of History at Dartmouth College. He researches and publishes on early British America and the development of plantation society.

◊  ◊  ◊  ◊  ◊

C O N T E N T S

List of Illustrations
Notes on Contributors

Introduction: Making Sense of Colonial Encounters and New Worlds, Daniela Hacke and Paul Musselwhite

I | Cultural Encounters
1  Touching on Communication: Visual and Textual Representations of Touch as Friendship in Early Colonial Encounters, Céline Carayon
2  Mission Soundscapes: Demons, Jesuits, and Sounds in Antonio Ruiz de Montoya’s Conquista Espiritual (1639), Jutta Toelle
3  Singing with Strangers in Early Seventeenth-century New France, Michaela Ann Cameron

II | Colonial Subjectivity
4  The Pain of Senses Escaping: Eighteenth-century Europeans and the Sensory Challenges of the Caribbean, Annika Raapke
5  Color Visions: Perceiving Nature in the Portuguese Atlantic World, Marília dos Santos Lopes

III | Structures of Knowledge
6  Colonial Sensescapes: Thomas Harriot and the Production of Knowledge, Daniela Hacke
7  Merian and the Pineapple: Visual Representation of the Senses, Megan Baumhammer and Claire Kennedy
8  ‘Delightful a Fragrance’: Native American Olfactory Aesthetics within the Eighteenth-Century Anglo-American Botanical Community, Andrew Kettler

IV | Colonial Projects
9  The Aromas of Flora’s Wide Domains: Cultivating Gardens, Aromas, and Political Subjects in the Late Seventeenth-Century English Atlantic, Kate Mulry
10 Exploring Underwater Worlds: Diving in the Late Seventeenth-/Early Eighteenth-Century British Empire, Rebekka von Mallinckrodt

Index