Enfilade

New Book | The Invention of the Colonial Americas

Posted in books by Editor on July 18, 2022

From The Getty:

Byron Ellsworth Hamann, The Invention of the Colonial Americas: Data, Architecture, and the Archive of the Indies, 1781–1844 (Los Angeles, Getty Research Institute, 2022), 328 pages, ISBN: 978-1606067734, $60.

The story of Seville’s Archive of the Indies reveals how current views of the sixteenth and seventeenth centuries are based on radical historical revisionism in Spain in the late 1700s.

The Invention of the Colonial Americas is an architectural history and media-archaeological study of changing theories and practices of government archives in Enlightenment Spain. It centers on an archive created in Seville for storing Spain’s pre-1760 documents about the New World. To fill this new archive, older archives elsewhere in Spain—spaces in which records about American history were stored together with records about European history—were dismembered. The Archive of the Indies thus constructed a scholarly apparatus that made it easier to imagine the history of the Americas as independent from the history of Europe, and vice versa.

In this meticulously researched book, Byron Ellsworth Hamann explores how building layouts, systems of storage, and the arrangement of documents were designed to foster the creation of new knowledge. He draws on a rich collection of eighteenth-century architectural plans, descriptions, models, document catalogs, and surviving buildings to present a literal, materially precise account of archives as assemblages of spaces, humans, and data—assemblages that were understood circa 1800 as capable of actively generating scholarly innovation.

Byron Ellsworth Hamann is an associate professor of art history at Ohio State University. His research is focused on the art and writing of pre-Hispanic Mesoamerica, as well as on the connections linking the Americas and Europe in the early modern Mediterratlantic world.

New Book | New World Objects of Knowledge

Posted in books by Editor on July 16, 2022

Distributed by The University of Chicago Press:

Mark Thurner and Juan Pimentel, eds., New World Objects of Knowledge: A Cabinet of Curiosities (London: University of London Press, 2021), 350 pages, ISBN: 978-1908857828, $75.

From the late fifteenth century to the present day, countless explorers, conquerors, and other agents of empire have laid siege to the New World, plundering and pilfering its most precious artifacts and treasures. Today, these natural and cultural products—which are key to conceptualizing a history of Latin America—are scattered in museums around the world. With contributions from a renowned set of scholars, New World Objects of Knowledge delves into the hidden histories of forty of the New World’s most iconic artifacts, from the Inca mummy to Darwin’s hummingbirds. This volume is richly illustrated with photos and sketches from the archives and museums hosting these objects. Each artifact is accompanied by a comprehensive essay covering its dynamic, often global, history and itinerary. This volume will be an indispensable catalog of New World objects and how they have helped shape our modern world.

Mark Thurner is professor of Latin American studies at the University of London. His books include The First Wave of Decolonization and History’s Peru: The Poetics of Colonial and Postcolonial Historiography. Juan Pimentel is research professor in the history of science at the Centro de Ciencias Humanas y Sociales, CSIC, Madrid. He is the author of many books, including The Rhinoceros and the Megatherium: An Essay in Natural History.

C O N T E N T S

Introduction by Mark Thurner and Juan Pimentel

Part 1: Artificialia

1  Codex Mendoza by Daniela Bleichmar
2  Macuilxochitl by Juan Pimentel
3  Potosi by Kris Lane
4  Piece of Eight by Alejandra Irigoin and Bridget Millmore
5  Pieza de Indias by Pablo Gomez
6  Rubber by Heloisa Maria Bertol Domingues and Emilie Ana Carreón Blaine
7  Silver Basin by Mariana Francozo
8  Feathered Shield by Linda Baez
9  Black by Adrian Masters
10  Cards by Jorge Canizares Esguerra
11  Mary’s Armadillo by Peter Mason
12  Mexican Portrait by Andrés Gutiérrez Usillos
13  Clay Vessel by Jorge Canizares-Esguerra
14  Singing Violin by Jorge Canizares Esguerra
15  Creole Cabinet by Juan Pimentel and Mark Thurner
16  Modern Quipu by Sabine and William Hyland
17  Memory Palaces by Jorge Canizares-Esguerra
18  Inca Mummy by Christopher Heaney
19  Xilonen by Miruna Achim
20  Machu Picchu by Amy Cox-Hall

Part 2: Naturalia

21  Amazon by Roberto Chauca
22  Bird of Paradise by Jose Ramon Marcaida
23  Emeralds by Kris Lane
24  Pearls by Jorge Canizares Esguerra
25  Cochineal by Miruna Achim
26  Opossum by Jose Ramon Marcaida
27  Guinea Pig by Helen Cowie
28  Bezoar by Jose Pardo-Tomas
29  Cacao by Peter Mason
30  Strawberry by Elisa and Ana Sevilla
31  Volcano by Sophie Brockmann
32  Andes by Mark Thurner and Jorge Canizares-Esguerra
33  Anteater by Helen Cowie
34  Megatherium by Juan Pimentel
35  Tapir by Irina Podgorny
36  Cinchona by Matthew Crawford
37  Potato by Rebecca Earle
38  Guano by Gregory Cushman
39  Tortoise by Elizabeth Hennessey
40  Darwin’s Hummingbird by Iris Montero

José Ignacio de Lequanda and Louis Thiébaut, Quadro de Historia Natural, Civil y Geográfica del Reyno del Perú, 1799, 331 × 119 cm (Madrid: Museo Nacional de Ciencias Naturales). This exceptional work presents 195 scenes and 381 figures describing the physical geography, the history, the ethnography, the fauna, and flora of the Peruvian Viceroyalty, via Google Arts & Culture.

 

New Book | Collectionner: Acteurs, Lieux, et Valeurs, 1750–1815

Posted in books by Editor on July 14, 2022

This collection of conference essays will not be commercially available, though copies will be distributed to select academic libraries; see the GRHAM website:

Ludovic Jouvet, Alice Ottazzi, and Maël Tauziède-Espariat, eds., Collectionner: Acteurs, Lieux, et Valeur(s), 1750–1815 (Paris: Editions du GRHAM, 2022, ISBN: 978-2955954621.

Le présent ouvrage réunit les actes du colloque organisé par le GRHAM (Groupe de Recherche en Histoire de l’art Moderne) et le Séminaire Collection les 26 et 27 octobre 2020. Dans une perspective interdisciplinaire innovante, les douze contributions questionnent la pratique du collectionnisme au tournant des XVIIIe et XIXe siècles. Alors que le rationalisme des Lumières, friand de taxinomie, a parfois entraîné une histoire simplifiée du collectionnisme, ces contributions soulignent au contraire la grande diversité des pratiques parallèlement à la normalisation de certains lieux, objets ou statuts du collectionneur.

C O N T E N T S

• Une culture de la collection au XVIIIe siècle ? — Olivier Bonfait
• La réception de Jean Warin au XVIIIe siècle — Ludovic Jouvet
• Gendering Collecting, Collections, and Consumption in 18th-Century Paris — Natasha Shoory
• L’art britannique à Paris au XVIIIe siècle : le recueil gravé comme outil pour l’étude de la réception — Alice Ottazzi
• Collecting Landscape Drawings in 18th-Century Paris: Delectare and Docere — Camilla Pietrabissa
• Antiques et culture d’un amateur et financier parisien de la seconde moitié du XVIIIe siècle : le salon et la bibliothèque d’Harenc de Presle (1710–1802) — Maël Vandewalle
• La pratique de la collection chez le financier de la seconde moitié du XVIIIe siècle — Élodie Kong
• La restitution des biens étrangers sous le Consulat : politique et finance relatives à deux tableaux de Claude Lorrain — Christine Godfroy-Gallardo
• Le Goût des Anglais pour le Mobilier Français: Collectors, Dealers, and the Market, 1785–1815 — Diana Davis
• Redécouverte d’une collection particulière parisienne du XVIIIe siècle : le cabinet de Louis Petit de Bachaumont — Léo Davy
• Le médailliste du siècle des Lumières : entre érudition, prestige et sociabilité — Charlotte Rousset
• Perfide Albion ! Douce Angleterre ? Le collectionnisme d’antiques en temps de rivalité napoléonienne à travers l’exemple croisé de Lord Elgin et du comte de Choiseul-Gouffier — Odile Boubakeur
• Le cabinet d’objets d’art de Balthazar-Georges Sage : la découverte d’une collection entre cabinet particulier et musée au tournant de la Révolution — Maddalena Napolitani

Exhibition | Louis Gauffier’s Journey to Italy

Posted in books, exhibitions by Editor on July 13, 2022

Now on view at the Musée Fabre:

Le Voyage en Italie de Louis Gauffier (1762–1801)
Musée Fabre, Montpellier, 7 May — 4 September 2022
Musée Sainte-Croix de Poitiers, 14 October 2022 — 12 February 2023

Curated by Pierre Stepanoff

Cette exposition d’été au musée Fabre, organisée en collaboration avec le musée Sainte-Croix de Poitiers—où elle sera présentée du 14 octobre 2022 au 12 février 2023—est la première consacrée à la carrière de Louis Gauffier, peintre de la fin de XVIII e siècle.

Né à Poitiers en 1762, Louis Gauffier est de ces artistes européens pour qui l’Italie fut une terre d’élection. Vainqueur du Prix de Rome en 1784, il découvre la Ville Éternelle et ses vestiges, puis Florence et la Toscane à partir de 1793, jusqu’à son décès précoce en 1801.

Le peintre déploie son art aussi bien dans les sujets mythologiques que bibliques, les portraits et le paysage. À l’orée du XIX e siècle, il propose des formules nouvelles d’une grande originalité, intimes et poétiques, qui le distinguent de ses contemporains. Le charme singulier de ses toiles explique la riche représentation du peintre dans les musées français et internationaux, qui soutiennent par leur prêts l’exposition du musée Fabre : musée des Offices à Florence, Kenwood House à Londres, National Gallery of Scotland à Edimbourg, Nationalmuseum à Stockholm, Philadelphia Museum of Art, Minneapolis Art Institute, Fine Art Museums à San Francisco, National Gallery of Victoria à Melbourne.

C’est en Italie, à Rome puis à Florence, que Louis Gauffier et François-Xavier Fabre devinrent camarade et amis. Le soin avec lequel Fabre recueilli des œuvres de son ami après son décès précoce explique aujourd’hui la très belle représentation de Gauffier au musée de Montpellier, dont l’exposition permettra de découvrir la richesse de sa carrière.

L’exposition montre à travers des sections chronologiques et thématiques l’évolution de la carrière de Gauffier, aussi bien dans le langage néoclassique qu’il développe dans ses peintures d’histoire, marquées par une grande curiosité archéologique comme par un sentimentalisme doux, ou encore dans son goût novateur pour le paysage, mettant en scène l’aristocratie européenne du Grand Tour partant à la découverte de la Toscane.

Cette rétrospective mettra également l’artiste en perspective avec ses contemporains, qu’il s’agisse de ses camarades français, Drouais, Gagneraux et surtout Fabre, mais également avec le contexte artistique italien profondément marqué par des peintres issus de toute l’Europe et dans lequel s’inscrit Gauffier, notamment dans ses portraits et ses paysages. C’est à une véritable découverte de l’Italie du Grand Tour que le visiteur sera convié.

Pierre Stepanoff,, ed., Le voyage en Italie de Louis Gauffier (Ghent: Éditions Snoeck, 2022), 408 pages, ISBN: ‎978-9461615831, €39.

Exhibition | Renoir: Rococo Revival

Posted in books, catalogues, exhibitions by Editor on July 12, 2022

I’m sorry to have missed notice of this exhibition earlier. There is an excellent ‘digitorial‘ component, and the catalogue is still available. CH

Renoir: Rococo Revival
Städel Museum, Frankfurt am Main, 2 March — 19 June 2022

Curated by Alexander Eiling, Juliane Betz, and Fabienne Ruppen

Pierre-Auguste Renoir (1841–1919) was one of the outstanding painters of French Impressionism—and far more than that. For the first time the Städel Museum addressed the surprising references in his art to Rococo painting in a large-scale special exhibition. Whereas Rococo painting was considered frivolous and immoral after the French Revolution, it underwent a revival in the nineteenth century and was widely visible in Renoir’s lifetime.

Having trained as a porcelain painter, Renoir was intimately acquainted with the imagery of artists such as Antoine Watteau, Baptiste Siméon Chardin, François Boucher, and Jean-Honoré Fragonard. He shared the Rococo’s predilection for certain subjects, among them promenaders in the park and on the riverbank, moments of repose in the outdoors, and the garden party. Renoir also frequently devoted himself to the depiction of domestic scenes and family life as well as intimate moments such as bathing, reading, or making music. Yet he not only took orientation from the motifs of the Rococo, but also particularly admired its loose and sketchy manner of painting as well as its brilliant palette, aspects that would have a formative influence on him and many other artists in the Impressionist circle.

Trenchant juxtapositions of Renoir’s art with works of the eighteenth century as well as his own contemporaries—Edgar Degas, Édouard Manet, Claude Monet, and Berthe Morisot—provided an overview of Impressionism’s intense artistic examination of the Rococo. The exhibition showed a total of some 120 outstanding paintings, works on paper and handcrafted objects from international museums such as the National Gallery in Washington, D.C., the Musée d’Orsay in Paris, the National Gallery in London, the Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles, as well as private collections.

Curators
Dr. Alexander Eiling (Head of Modern Art, Städel Museum), Dr. Juliane Betz (Deputy Head of Modern Art, Städel Museum), Dr. Fabienne Ruppen (Research Assistant, Modern Art, Städel Museum)

Alexander Eiling with Juliane Betz and Fabienne Ruppen, eds, Renoir: Rococo Revival (Stuttgart: Hatje Cantz, 2022), 328 pages, ISBN 978-3775751346 (English edition), ISBN 978-3775751339 (German edition), €50. Text by Michela Bassu, Juliane Betz, Alexander Eiling, Guillaume Faroult, Marine Kisiel, Matthias Krüger, Mary Morton, Astrid Reuter, and Fabienne Ruppen.

New Book | Grinling Gibbons and His Contemporaries

Posted in books by Editor on July 10, 2022

From Brepols:

Ada De Wit, Grinling Gibbons and His Contemporaries (1650–1700): The Golden Age of Woodcarving in the Netherlands and Britain (Turnhout: Brepols, 2022), 426 pages, ISBN: 978-2503584881, €150.

One of the greatest artists of the English Baroque, Grinling Gibbons (1648–1721) was born in Rotterdam to English parents. He moved to England at the age of nineteen and embarked on a spectacular career. His exuberant lifelike carvings in limewood can be admired at Hampton Court Palace and at St Paul’s Cathedral in London. But what was the Dutch tradition that shaped him? And what set him apart from the other carvers of his time? This book explains the importance of woodcarving and provides new insights into the work of woodcarvers in the Netherlands and Britain. Full of discoveries and new images, it discusses little-known interiors, objects, craftsmen, and their patrons and provides a rich introduction to the ornamental world of woodcarving.

Ada de Wit is Curator of Works of Art and Sculpture at The Wallace Collection, London. A specialist in decorative arts and historic interiors, she is an expert on the art of Grinling Gibbons.

Exhibition | Japan—Arts and Life: The Montgomery Collection

Posted in books, catalogues, exhibitions by Editor on July 8, 2022

From MUSEC and Skira:

Japan—Arts and Life: The Montgomery Collection
Museo delle Culture, Lugano, 10 February 2022 — 8 January 2023

Japan—Arts and Life, a major exhibition dedicated to the Jeffrey Montgomery Collection, is now on view at the Museo delle Culture in Lugano. At home in Lugano for over fifty years, it is one of the largest and best-known collections of Japanese art outside Japan. With this project, MUSEC celebrates a passion for collecting and a heritage of great artistic and cultural value—a heritage that brings prestige to Lugano, consolidating the Ticino city’s historic ties with Swiss and international private art collecting.

Installed throughout two floors of the Villa Malpensata, home of MUSEC, the exhibition presents 170 works dating from the 12th to the 20th centuries—including textiles, furniture, paintings, religious and everyday-objects—each carefully selected from the over one thousand objects collected over a lifetime by Jeffrey Montgomery.

Known worldwide, the Montgomery Collection displays an extraordinary richness and a singular substance. The experience and sensitivity of the collector are at the heart of the project developed by MUSEC and mark its originality, compared to the way in which the collection has been interpreted until now. As Francesco Paolo Campione, director of MUSEC, writes in his introduction to the exhibition catalogue, “art collections can only have meaning and deep value if they are linked to an existential dimension and the human experience of those who wanted, planned, and consolidated them around themselves. The collector is indispensable to the collection: not only because he created it, but also because he guarantees its originality, interpreting the spirit of the times.”

Paolo Campione teaches Cultural Anthropology at the University of Insubria and is the Director of MUSEC. Moira Luraschi, anthropologist, is curator of the Japanese collections and the photographic collection of the Yokohama School at MUSEC.

Francesco Paolo Campione and Moira Luraschi, eds., Japan—Arts and Life: The Montgomery Collection (Milan: Skira, 2022), 288 pages, ISBN: 978-8857247724, $54.

Essays
• Francesco Paolo Campione — An Impermanent Journey between Art and Life
• Matthi Forrer — Collecting Japanese Art Objects
• Rossella Menegazzo — The Other Side of Japan: The Jeffrey Montgomery Collection between Art, Crafts, and Folklore
• Giorgio Amitran — Japan, the Beautiful, and Ourselves
• Imogen Heitmann — The Museographical Display as a Creative ‘Meta-work’

Catalogue Entries
• Paintings
• Woven Objects
• Hooks and Counterweights
• Ceramics
• Fabrics
• Lanterns
• Masks
• Furniture
• Signs
• Kettles and Pourers
• Sculptures
• Lacquers

Bibliography
Author Biographies

New Book | Money and Materiality in the Golden Age of Graphic Satire

Posted in books by Editor on July 7, 2022

From the University of Delaware Press:

Amanda Lahikainen, Money and Materiality in the Golden Age of Graphic Satire (Newark: University of Delaware Press, 2022), 234 pages, ISBN: 978-1644532690 (cloth), $120 / ISBN: 978-1644532683 (paperback), $35.

This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire ​altogether.

Amanda Lahikainen is the executive director of the Ogunquit Museum of American Art in Ogunquit, Maine. Prior to joining OMAA, she served as an associate professor of art history and chairperson of the art department at Aquinas College in Grand Rapids, Michigan.

C O N T E N T S

Acknowledgments
List of Tables and Figures

Introduction: The Inflation of Georgian Graphic Satire
1  Money, Fact, and Value
2  Crisis
3  Subjectivity and Trust
4  Imitation and Immateriality
5  Materiality
6  The Deflation of Georgian Graphic Satire
Epilogue: Beyond Britain

Notes
Bibliography
Index

 

 

New Book | Enjoying Claret in Georgian Ireland

Posted in books by Editor on July 6, 2022

From Four Courts Press:

Patricia McCarthy, Enjoying Claret in Georgian Ireland: A History of Amiable Excess (Dublin: Four Courts Press, 2022), 224 pages, ISBN: 978-1801510134, €40.

This book looks at Ireland’s love affair with claret, which began in earnest with the establishment of Irish families in the wine trade in Bordeaux in the early eighteenth century. So much red wine from Bordeaux was being consumed by Ireland’s nobility and gentry that Jonathan Swift referred to it as ‘Irish wine’, in the full knowledge that his correspondent would understand that he meant claret. One writer observed that ‘drinking had become so fashionable, that gentlemen competed eagerly to have the largest cellar and spend the most on hogsheads of wine every year’, and claret was the wine of choice. At Dublin Castle the amount of wine consumed was prodigious: it was acknowledged by all that balls, dinners and the contents of the Castle’s cellars played a major part in the popularity of the lord lieutenant and indeed resulted in the premature death of one. Not surprisingly, gout—referred to as ‘the Irish hospitality’ by one observer—was rampant and some of the rather bizarre ‘cures’ suggested are discussed. The book deals with questions such as how was the domestic wine cellar planned and used? When did connoisseurship in wine commence? What was the role of the merchant, apart from providing the wine? On the domestic front, to what lengths did men go in purchasing the many fashionable wine accoutrements used in the traditionally ‘male’ dining room? Why did ‘toasts’ figure so prominently, not just at dinner parties in mixed company, but particularly among male groups in clubs and associations? The ‘Irish Wine’ trade fostered not only a reputation for excessive conviviality, but created a healthy profit for its merchant importers.

Patricia McCarthy is an architectural historian and author of ‘A Favourite Study’ Building the King’s Inns (Dublin, 2006), and Life in the Country House in Georgian Ireland (Yale University Press, 2016).

New Book | The Overseas Trade of British America

Posted in books by Editor on July 4, 2022

From Yale UP:

Thomas Truxes, The Overseas Trade of British America: A Narrative History (New Haven: Yale University Press, 2022), 464 pages, ISBN‏: ‎ 978-0300159882, $40.

A sweeping history of early American trade and the foundation of the American economy

In a single, readily digestible, coherent narrative, historian Thomas M. Truxes presents the three hundred–year history of the overseas trade of British America. Born from seeds planted in Tudor England in the sixteenth century, Atlantic trade allowed the initial survival, economic expansion, and later prosperity of British America, and brought vastly different geographical regions, each with a distinctive identity and economic structure, into a single fabric. Truxes shows how colonial American prosperity was only possible because of the labor of enslaved Africans, how the colonial economy became dependent on free and open markets, and how the young United States owed its survival in the struggle of the American Revolution to Atlantic trade.

Thomas M. Truxes is Clinical Professor of Irish Studies and History at New York University. He is the author of Irish-American Trade, 1660–1783 and Defying Empire: Trading with the Enemy in Colonial New York, among other books.

C O N T E N T S

Preface
A Note on the Text

Introduction
1  Tudor Beginnings, 1485–1603
2  Emergence, 1603–1650
3  Shaping Atlantic Commerce, 1650–1696
4  Engines of Opportunity, 1696–1733
5  Testing the Limits of Empire, 1733–1763
6  Crisis, 1763–1773
7  Trade and Revolution, 1773–1783
Epilogue: The Empress at Sea
Conclusion

Appendix 1: The Balance of Payments of British America
Appendix 2: Statistical Tables

List of Abbreviations and Short Titles
Notes
Index

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