Enfilade

Distributed by The University of Chicago Press:

Junko Aono, Confronting the Golden Age: Imitation and Innovation in Dutch Genre Painting 1680–1750 (Amsterdam University Press, 2014), 272 pages, ISBN: 978-9089645685, $99.

Dutch genre paintings of the period between 1680 and 1750 have historically been cast as uninspired repetitions of art from the mid-seventeenth-century Dutch Golden Age. In Confronting the Golden Age, Junko Aono reconsiders these oft-dismissed paintings, repositioning them as dynamic works that played an instrumental role in the canonization of the art of the Golden Age.

Drawing on archival documents, sales catalogs, and other texts, Aono closely analyzes a range of genre paintings—many of them handsomely reproduced in this volume. In the process, she deepens our understanding of these works and reveals how they illuminate the relationships among painters, collectors, and the dominant artistic currents of the time.

Junko Aono is associate professor of art history at Kyushu University, Fukuoka in Japan.

C O N T E N T S

I. Confronting the Heritage of the Golden Age: The Situation around Dutch Genre Painting 1680–1750

Introduction
1.  Painter and collector in transition: the search for a new relationship
2. The collector ’s taste: in praise of seventeenth-century Dutch genre painting
3. Popular subject matter of genre painting in eighteenth-century collections
4. The painter ’s choice: updating seventeenth-century genre painting

II.  Reproducing the Golden Age: Copies after Seventeenth-Century Dutch Genre Painting in the First Half of the Eighteenth Century

1. Commercial misuse of copies: discussion between Johan van Gool and Gerard Hoet
2. Copies as substitutes for seventeenth-century painting
3. The painter ’s choice: in search of a favorite painte and subject matter
4. Case study: the candlelight scene as popular subject
5. The function of copying: looking back to the Golden Age

III. Emulating the Golden Age: The Painter’s Choice of Motifs and Subject Matter in Dutch Genre Painting of the First Half of the Eighteenth Century

1. The painter ’s choice of subject matter
2. Competing with the ‘old masters’: pendants by Gerard Dou, Willem van Mieris and Hieronymus van der Mij
3. ‘Pleasurable enjoyment of dissimilar similarity’

IV. Ennobling Daily Life: A Question of Refinement in Early Eighteenth-Century Dutch Genre Painting

1. Gerard de Lairesse’s attempt to ennoble genre painting
2. The painter ’s practice of idealizing figures in genre painting
3. To meet new demands of collectors: seeking ideal versatility

From Pickering & Chatto:

Susan Barton and Allan Brodie, eds., Travel and Tourism in Britain, 1700–1914, 4 volumes (London: Pickering & Chatto, 2014), approximately 1600 pages, ISBN: 978-1848934122, £350 / $625.

The British led the way in holidaymaking. During the eighteenth century travel was only available to the wealthiest people, but from the 1830s the railways brought a transport revolution, opening up the chance for travel to all classes. As tourism grew in popularity, a whole new industry developed. Many new large, lively towns grew up around spas and at the seaside to meet the needs of visitors. Guidebooks were produced, aimed at all sorts of holidaymakers and the first travel agencies emerged.

This four-volume primary resource collection brings together a diverse range of texts on the various forms of transport used by tourists, the destinations they visited, the role of entertainments and accommodation and how these affected the way that tourism evolved over two centuries. Case studies on specific towns—Bath, Cheltenham and Tunbridge Wells—illustrate the rise of spa tourism, then studies of Brighton, Margate, Blackpool and Scarborough are used to demonstrate the later dominance of the seaside resort. The collection will be of interest to social and economic historians as well as those researching print culture and the history of tourism.

• Contains over 200 rare primary resources
• Includes diaries, memoirs, guide books, journal articles, railways guides, handbills, trade directories, local newspaper articles and poems
• Editorial apparatus includes a general introduction, volume introductions, headnotes and endnotes
• A consolidated index appears in the final volume

Volume 1: Travel and Destination
Volume 2: Spa Tourism
Volume 3: Seaside Holidays
Volume 4: Seaside Resorts

Susan Barton is an honorary fellow at the International Centre for Sports History and Culture, De Montfort University. Allan Brodie is an architectural historian for English Heritage.

From Ashgate:

Tricia Cusack, ed., Framing the Ocean, 1700 to the Present: Envisaging the Sea as Social Space (Aldershot: Ashgate, 2014), 302 pages, ISBN: 978-1409465683, £70 / $120.

Before the eighteenth century, the ocean was regarded as a repulsive and chaotic deep. Despite reinvention as a zone of wonder and pleasure, it continued to be viewed in the West and elsewhere as ‘uninhabited’, empty space. This collection, spanning the eighteenth century to the present, recasts the ocean as ‘social space’, with particular reference to visual representations. Part I focuses on mappings and crossings, showing how the ocean may function as a liminal space between places and cultures but also connects and imbricates them. Part II considers ships as microcosmic societies, shaped for example by the purpose of the voyage, the mores of shipboard life, and cross-cultural encounters. Part III analyses narratives accreted to wrecks and rafts, what has sunk or floats perilously, and discusses attempts to recuperate plastic flotsam. Part IV plumbs ocean depths to consider how underwater creatures have been depicted in relation to emergent disciplines of natural history and museology, how mermaids have been reimagined as a metaphor of feminist transformation, and how the symbolism of coral is deployed by contemporary artists. This engaging and erudite volume will interest a range of scholars in humanities and social sciences, including art and cultural historians, cultural geographers, and historians of empire, travel, and tourism.

Tricia Cusack’s publications include Art and Identity at the Water’s Edge (ed.) (Ashgate 2012); Riverscapes and National Identities (Syracuse University Press 2010); Art, Nation and Gender: Ethnic Landscapes, Myths and Mother-Figures (co-edited, Ashgate 2003), and numerous articles.

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C O N T E N T S

Introduction: Framing the ocean, 1700 to the present: Envisaging the sea as social space, Tricia Cusack

Part I Exploring the Ocean: Colonial Crossings
1. From Mare Tenebrorum to Atlantic Ocean: A cartographical biography (1470–1900), Carla Lois
2. The Old World anew: The Atlantic as the liminal site of expectations, Emily Burns
3. Second encounters in the South Seas: Revisiting the shores of Cook and Bougainville in the art of Gauguin, La Farge and Barnfield, Elizabeth C. Childs

Part II Ships as Microcosms of Society
4. The artist travels: Augustus Earle at sea, Sarah Thomas
5. Sailors on horseback: The representation of seamen and social space in eighteenth-century British visual culture, Geoff Quilley
6. The ‘other’ ships: Dhows and the colonial imagination in the Indian Ocean, Erik Gilbert
7. Representation, commerce, and consumption: The cruise industry and the ocean, Adam Weaver

Part III Narratives of Shipwrecks, Rafts, and Jetsam
8. Shipwrecks, mutineers and cannibals: Maritime mythology and the political unconscious in eighteenth-century Britain, Carl Thompson
9. The sea as repository: Tacita Dean’s Teignmouth Electron, 1999 and Sean Lynch’s DeLorean Progress Report, 2010, Kirstie North
10. Reconstructing the raft: Semiotics and memory in the art of the shipwreck and the raft, Yvonne Scott
11. Plastic as shadow: The toxicity of objects in the anthropocene, Pam Longobardi

Part IV Natural and Unnatural Histories: Oceanic Imaginings
12. A ‘dreadful apparatus’: John Singleton Copley’s Watson and the Shark and the cultures of natural history, Emily Ballew Neff
13. Mermaids and metaphors: Dorothea Tanning’s surrealist ocean, Victoria Carruthers and Catriona McAra
14. ‘Something rich and strange’: Coral in contemporary art, Marion Endt-Jones
15. ‘No fancy so wild’: Slippery gender models in the coral gallery, Pandora Syperek

Index

Published by Campisano and available from ArtBooks.com:

Antonello Cesareo, Studi su Anton von Maron, 2001–2012 (Rome: Campisano Editore, 2014), 200 pages, ISBN: 9788898229239, 30€ / $59.

Il volume racchiude gli scritti dedicati per più di un decennio da Antonello Cesareo ad Anton von Maron (1731–1808), sommo ritrattista Neoclassico, di cui l’autore ricostruisce la personalità e il catalogo delle opere. Grazie all’attenta analisi della sua produzione, rivivono le principali figure della storia politica e culturale del Settecento, dall’archeologo tedesco Johan Joachim Winckelmann agli Accademici di San Luca, dalle nobildonne e dai gentiluomini europei attori del Grand-Tour fino alla coppia imperiale austriaca. «La nobile semplicità dei suoi ritratti», come scrive lo stesso autore, è raggiunta «grazie ad una sapiente resa atmosferica che oltrepassa il modello batoniano, seppure dallo stesso Maron più volte ripreso, per giungere a definire un esempio che trascende la resa del personaggio incipriato nel massimo del suo splendore».

È l’Europa del Secolo dei Lumi a sfilare davanti a noi, ancora vivida e pregna di significato attraverso i volti dei suoi protagonisti.

Antonello Cesareo (L’Aquila 1971 – Trento 2013) si è laureato, specializzato e ha conseguito il titolo di dottore di ricerca presso l’Università degli Studi di Roma La Sapienza studiando artisti e collezionisti inglesi in Italia tra Seicento e Settecento, quali Gavin Hamilton e Thomas Howard secondo conte di Arundel. È stato autore di saggi e approfondimenti su artisti quali Thomas Jenkins, Marcello Bacciarelli e committenti come il cardinale Henry Stuart duca di York, il cardinale Ercole Consalvi e Angelo Maria Ricci. Nel 2012 ha dedicato un volume alla ricostruzione del fecondo rapporto di Antonio Canova con l’Accademia di San Luca, grazie al ritrovamento di numerosi documenti inediti, frutto di un triennio di studi trascorso come borsista presso la prestigiosa istituzione. Nel 2013 la commissione per l’Abilitazione Scientifica Nazionale, riconoscendo l’alto valore innovativo dei suoi contributi, gli ha attribuito le funzioni di professore di II fascia.

S O M M A R I O

Hugh Honour, Prefazione
Alvar González-Palacios, Antonello
1. Nobile, fiero e di gentile aspetto: su di un Autoritratto giovanile di Anton von Maron; pubblicato in Neoclassico 20 (2001): 22–33.
2. ‘Valentissimo pittor divenuto…’: un Autoritratto di Anton von Maron; pubblicato in Bollettino del Museo Civico di Bassano 25 (2004): 251–68.
3. Anton von Maron: ‘The first portrait painter at present in Rome’; pubblicato in Antologia di Belle Arti, II (2007): 104–29.
4. ‘I cui nomi sono cogniti per ogni dove…’. A proposito di Caterina Cherubini Preciado e Theresa Mengs Maron; pubblicato in Les Cahiers d’Histoire de l’Art 6 (2008): 78–87.
5. Ancora su Anton von Maron ritrattista (pubblicato in Antologia di Belle Arti, III, 2009, pp. 62-93)
6. ‘Mein Lieber Meister…’. Appunti sulla bottega di Anton von Maron; pubblicato in Ricerche di Storia dell’Arte 101 (2010): 81–88.
7. Anton von Maron e l’Accademia di San Luca; pubblicato in Studi sul Settecento Romano 26 (2010): 201–34.
8. ‘Con maestra mano usa il pennello creando opere sublimi’. Anton von Maron ritrattista al servizio della corte austriaca; conferenza tenuta all’Accademia degli Agiati di Rovereto l’8 marzo 2012.
Bibliografia di Antonello Cesareo

From Ashgate:

Göran Rydén, ed., Sweden in the Eighteenth-Century World: Provincial Cosmopolitans (Aldershot: Ashgate, 2013), 386 pages, ISBN: 978-1409465881, £75 / $135.

Eighteenth-century Sweden was deeply involved in the process of globalisation: ships leaving Sweden’s central ports exported bar iron that would drive the Industrial Revolution, whilst arriving ships would bring not only exotic goods and commodities to Swedish consumers, but also new ideas and cultural practices with them. At the same time, Sweden was an agricultural country to a large extent governed by self-subsistence, and—for most—wealth was created within this structure. This volume brings together a group of scholars from a range of disciplinary backgrounds who seek to present a more nuanced and elaborated picture of the Swedish cosmopolitan eighteenth century. Together they paint a picture of Sweden that is more like the one eighteenth-century intellectuals imagined, and help to situate Sweden in histories of cosmopolitanism of the wider world.

Göran Rydén is Professor of Economic History at the Institute for Housing and Urban Research at Uppsala University, Sweden.

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C O N T E N T S

1. Provincial cosmopolitanism: An introduction, Göran Rydén
2. Where in the world was Sweden? A brief guide for foreigners, Chris Evans
3. The language of cosmos: The cosmopolitan endeavour of universal languages, David Dunér
4. Swedish agriculture in the cosmopolitan eighteenth century, Mats Morell
5. Travelling and the formation of taste: The European journey of Bengt Ferrner and Jean Lefebure, 1758–1763, Lars Berglund
6. Eskiltuna Fristad: The beginnings of an urban experiment, Göran Rydén
7. Prints and attraction in eighteenth-century Stockholm, Sonya Petersson
8. In defence of freedom: Christianity and the pursuit of human happiness in Anders Chydenius’ world, Carola Nordbäck
9. Sweden’s neutrality and the eighteenth-century inter-state system, Leos Müller
10. Runaway colours: Recognisability and categorization in Sweden and early America, 1750–1820, Karin Sennefelt
11. When Sweden harboured idlers: Gender and luxury in public debates, c. 1760–1830, Karin Hassan Jansson
12. A divided space: Subjects and others in the Swedish West Indies during the late eighteenth century, Holger Weiss
13. A world of fiction: Bengt Lidner and global compassion in eighteenth-century Sweden, Anna Cullhed
14. Sveaborg and the end of the Swedish cosmopolitan eighteenth century: An epilogue, Göran Rydén and Holger Weiss
Select bibliography
Index

Published by Imhof and available from Artbooks.com:

Rudolf Rieger, Adam von Bartsch (1757–1821): Leben und Werk des Wiener Kunsthistorikers und Kupferstechers unter besonderer Berücksichtigung seiner Graphik nach Handzeichnungen (St Petersburg: Imhof, 2013), 1264 pages, 2 volumes with DVD, ISBN: 978-3865687012, 199€ / $325.

Adam von Bartsch gilt als ‘Ahnvater’ der modernen Graphikforschung, formulierte er doch nicht nur grundlegende Überlegungen zur Systematisierung von Druckgraphik, sondern schuf mit seinem 21-bändigen ‘Le Peintre Graveur’ (1803–1821) ein fundamentales Korpuswerk, das bis heute den Ausgangspunkt für die Beschäftigung mit graphischer Kunst von den Anfangen bis ins 18. Jahrhundert darstellt. Kaum bekannt ist hingegen, dass Bartsch auch künstlerisch tätig war und mit einem OEuvre von fast 600 Blatt zu den innovativsten Graphikern seiner Zeit gehörte, dessen herausragende Stellung in der Graphik um 1800 noch nicht dargestellt wurde. Neben Porträts und Illustrationsgraphik widmete er sich vor allem der Reproduktion von Handzeichnungen alter Meister und schuf auf diesem Gebiet zahlreiche Blatter, die teils einzeln, teils als Folgen verlegt wurden.

Der Werkkatalog unterzieht erstmalig alle Arbeiten Bartschs einer Sichtung und Beurteilung. Begleitet wird er von einer biographischen Studie und einer Analyse des graphischen Schaffens sowie einer nach Ländern gegliederten, in dieser Form noch nicht unternommenen Darstellung zur Reproduktionsgraphik nach Zeichnungen im 18. und 19. Jahrhundert, vor deren Hintergrund Bartschs Stellung erst deutlich konturiert werden kann. Neben der Würdigung Bartschs als herausragendem Vertreter eines durch die Aufklärung geprägten neuen Wissenschaftler- und Künstlertypus liefert die Publikation somit einen grundlegenden Beitrag zur Graphikgeschichte jener Zeit im europäischen Kontext.

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Note (added 1 March 2015) — The book is reviewed by F. Carlo Schmid in The Burlington Magazine 157 (February 2015): 108–09.