Exhibition | Aquatint: From Its Origins to Goya
From the NGA:
Aquatint: From Its Origins to Goya
National Gallery of Art, Washington, D.C., 24 October 2021 — 21 February 2022
Curated by Rena Hoisington
A new printmaking technique—aquatint—swept through 18th-century Europe, yielding an extraordinary range of works, from images of erupting volcanoes, amorous couples, and mysterious tombs, to Russian exotica, biting caricatures, and moonlit vistas. The first American exhibition to survey the medium’s development in France, England, Italy, Germany, the Netherlands, and Spain, Aquatint: From Its Origins to Goya presents some 100 early and exceptional impressions, many of which have recently been acquired by the National Gallery of Art. By supplementing the line work of etching, aquatint offered an exciting method for multiplying ink-and-wash drawings that render tone in subtle ways.
Aquatint flourished outside the official circles of European art academies in the hands of three kinds of artists—professional printmakers, amateurs (art lovers), and peintre-graveurs (painter-printmakers). Each played a distinctive and significant role in publicizing, disseminating, and advancing the aquatint medium. Professional printmakers combined it with other intaglio printmaking techniques to reproduce highly prized drawings by old master and contemporary artists. Amateurs, an elite group of like-minded collectors, embraced drawing, etching, and aquatint to not only expand their art-historical and connoisseurial knowledge, but also cultivate relationships with artists. Peintre-graveurs revisited, re-created, and circulated their designs through aquatint to build their reputations and broaden their audiences, dramatically expanding the formal vocabulary and expressive potential of the medium.
Rena Hoisington, Aquatint: From Its Origins to Goya (Princeton: Princeton University Press, 2021), 288 pages, ISBN: 978-0691229799, $60.
Supported by the Eugene V. and Clare E. Thaw Charitable Trust and written by Rena M. Hoisington, curator and head of old master prints at the National Gallery of Art, a book illustrated with rare works from the National Gallery’s collection of early aquatints accompanies the exhibition. It provides an engaging narrative about the medium’s flourishing as a cross-cultural and cosmopolitan phenomenon that contributed to the rise of art publishing, connoisseurship, leisure travel, and drawing instruction as well as the spread of neoclassicism.
Exhibition | Goya
Francisco de Goya, Still Life with Golden Bream (Besugos), 1808–12, oil on canvas, 45 × 63 cm
(The Museum of Fine Arts, Houston, 94.245)
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Press release (via Art Daily) for the exhibition:
Goya
Fondation Beyeler, Basel, 10 October 2021 — 23 January 2022
Curated by Martin Schwander and developed by Isabela Mora and Sam Keller
275 years after his birth, the Fondation Beyeler presents one of the most significant exhibitions ever devoted to Francisco de Goya—one of modern art’s major trailblazers. For the first time, rarely displayed paintings from Spanish private collections will be shown alongside key works from distinguished European and American museums and private collections. The exhibition brings together around 70 paintings and more than 100 masterful drawings and prints. Today, as during the artist’s lifetime, Goya’s works present viewers with a unique sensory and intellectual experience. For the past two centuries, his complex and ambiguous oeuvre has acted as a beacon and a landmark for many artists. The exhibition is organised by the Fondation Beyeler in collaboration with the Museo Nacional del Prado in Madrid.
Francisco de Goya y Lucientes (1746–1828) occupies a paradoxical position in European art history as one of the last great court painters and a forerunner of the figure of the modern artist. In order to convey the uniqueness of Goya’s work, which spans a period ranging from Late Rococo to Romanticism, and do justice to the formal and thematic wealth of his painted, drawn, and printed oeuvre, the exhibition presents the full spectrum of genres and recurring motifs. Arranged chronologically, it features large-scale stately paintings as well as sketchbook pages, focussing on Goya’s late work.
The exhibition at the Fondation Beyeler presents both the established court painter and the inventor of enigmatic and disturbing pictorial worlds, his religious and his secular images, his depictions of Christ and of witches, portraits and history paintings, still lifes and genre scenes. Next to paintings commissioned by the royal family, the aristocracy and the bourgeoisie, the show features works created by Goya within a self-conquered space of artistic freedom, among them cabinet paintings often intended only for highly private display. With rebellious resolve, Goya was one of the first artists in the history of European art to push back against the rules and dogmas that constrained artistic creation, instead making a stand for artists’ impulse and inventiveness (‘capricho’ and ‘invención’). Highlights of the exhibition include the portrait of the Duchess of Alba (1795) and the iconic Clothed Maja (La maja vestida, 1800–07), as well as the rarely displayed Maja and Celestina on a Balcony and Majas on a Balcony (1808–12), the latter two on loan from European private collections.
Francisco Goya y Lucientes, María Amalia de Aguirre y Acedo, marquesa de Montehermoso, 1810, oil on canvas, 170 × 103 cm (Private Collection).
The exhibition will further feature small-format genre scenes, held for the most part in Spanish private collections and hitherto only rarely shown outside Spain. In these paintings—as in his drawings and prints—Goya gave free rein to his innermost inspiration. For the first time since their only display to date at the Museo Nacional del Prado, the Fondation Beyeler will thus show the full series of eight remaining history and genre pictures from the Madrid collection of the Marqués de la Romana. They will be joined by the four celebrated, rarely loaned panels with genre scenes from the Real Academia de Bellas Artes de San Fernando in Madrid.
In his genre scenes and history paintings, Goya depicts events from everyday life in Spain around 1800—socially, politically, and religiously troubled times. Recurring settings include markets and bullrings, prisons and ecclesiastical institutions, lunatic asylums, and the courts of the Inquisition. Depictions of witches are another key motif, used by Goya to expose the superstition of his time. Next to a group of etchings from The Disasters of War (Los desastres de la guerra, 1811–14), the exhibition will also feature a selection of prints from the 1799 Caprichos series, among them the celebrated plate no. 43, programmatically titled The Sleep of Reason Produces Monsters, which displays Goya’s resigned and melancholy realisation that neither reason nor irony and sarcasm can fight off irrationality. Goya’s enigmatic and unfathomable pictorial worlds have been held in high regard ever since the age of early 19th-century French Romanticism. Among modern artists, Pablo Picasso and Joan Miró, Francis Bacon and the Surrealists viewed Goya as a kindred spirit. And he remains a major reference for many contemporary artists, among them Marlene Dumas and Philippe Parreno.
Commissioned by the Fondation Beyeler, renowned French artist Philippe Parreno (b. 1964) has created a film based on Goya’s iconic Black Paintings series (Pinturas negras, 1819–24), which will premiere at the exhibition. The 14 murals were originally painted in Goya’s residence on the outskirts of Madrid and were most likely not intended for public viewing. Now in the collection of the Museo Nacional del Prado in Madrid, the paintings are so fragile that they cannot leave the museum.
For the first time, seldom seen paintings from Spanish private collections, some of which have not changed hands since the artist’s lifetime, are shown alongside key works from the most prestigious European and American museums and private collections. Works will be on loan from major museums such as the Museo Nacional del Prado, the Museo Thyssen-Bornemisza, the Fundación Lázaro Galdiano and the Fundación Casa de Alba, all in Madrid, the Musée du Louvre in Paris, the Metropolitan Museum of Art in New York, the National Gallery in London, the Gallerie degli Uffizi in Florence, the National Gallery of Ireland in Dublin, the Sammlung Oskar Reinhart ‘Am Römerholz’ in Winterthur, the Minneapolis Institute of Art, and the Museum of Fine Arts in Houston.
Martin Schwander, ed., with text by Andreas Beyer, Helmut C. Jacobs, Ioana Jimborean, José Manuel Matilla, Gudrun Maurer, Manuela B. Mena Marqués, Colm Tóibín, Bodo Vischer, Francisco de Goya (Stuttgart: Hatje Cantz, 2021), 288 pages, ISBN: 978-3775746571 (English edition), $90. Also available in German.
New Book | Quakers and Their Meeting Houses
Distributed by Oxford UP:
Chris Skidmore, Quakers and Their Meeting Houses (Liverpool: Liverpool University Press, 2021), 240 pages, ISBN: 978-1800857209, £40 / $75.
This book provides a fascinating account of the architecture and historical development of the Quaker meeting house from the foundation of the movement to the twenty-first century. The Quaker meeting house is a distinctive building type used as a place of worship by members of the Society of Friends (Quakers). Starting with buildings of the late-seventeenth century, the book maps how the changing beliefs and practices of Quakers over the last 350 years have affected the architecture of the meeting house. The buildings considered are illustrated, predominantly in colour, and are from England, Scotland, and Wales, with some consideration of colonial American examples. The book commences with an introduction that provides an accessible account of the early history of Quakerism, and it concludes with a consideration of whether there is a Quaker architectural style and of what it might consist.
New Book | Follies in America
From Cornell UP:
Kerry Dean Carso, Follies in America: A History of Garden and Park Architecture (Ithaca: Cornell University Press, 2021), 216 pages, ISBN: 978-1501755934, $30.
Follies in America examines historicized garden buildings, known as ‘follies’, from the nation’s founding through the American centennial celebration in 1876. In a period of increasing nationalism, follies—such as temples, summerhouses, towers, and ruins—brought a range of European architectural styles to the United States. By imprinting the land with symbols of European culture, landscape gardeners brought their idea of civilization to the American wilderness.
Kerry Dean Carso’s interdisciplinary approach in Follies in America examines both buildings and their counterparts in literature and art, demonstrating that follies provide a window into major themes in nineteenth-century American culture, including tensions between Jeffersonian agrarianism and urban life, the ascendancy of middle-class tourism, and gentility and social class aspirations.
Kerry Dean Carso is Professor of Art History at the State University of New York at New Paltz. She is the author of American Gothic Art and Architecture in the Age of Romantic Literature.
C O N T E N T S
List of Illustrations
Acknowledgments
Introduction
1 The English Landscape Garden in America
2 Temples
3 Summerhouses
4 Towers
5 Ruins
Conclusion
Notes
Bibliography
Index
New Book | The Built Environment Transformed
Distributed by Oxford UP:
Geoffrey Timmins, The Built Environment Transformed: Textile Lancashire during the Industrial Revolution (Liverpool: Liverpool University Press, 2021), 240 pages, ISBN: 978-1800856530, £40 / $75.
This book is concerned with the remarkable changes made to the built environment in Lancashire’s main textile district—essentially the eastern and central parts of the county—during the Industrial Revolution (c1780–c1850). A case-study approach is taken, with findings from investigations at six different types of site being presented. The sites included are water-powered mill remains in the Cheesden valley, near Rochdale; Barrow Bridge factory village, near Bolton; the former handloom weavers’ colony at Club Houses, Horwich; Preston’s Winckley Square; Eanam wharf at Blackburn; and, to the north of Bolton, the road between Bromley Cross and Edgworth. The case studies show how, in rural and urban areas alike, developments in industry, housing, and transport greatly extended the built environment and brought striking new features to it. Emphasis is placed on interpreting the physical evidence the sites provide, linking it with that taken from various types of documentary source, especially historical maps. By making comparisons with developments occurring at similar types of site elsewhere in Britain, as well as in Europe and North America, the forms the changes took are explained and their significance assessed. Additionally, insights are provided into the economic and social impact the changes brought, especially on the everyday lives that people led.
Geoffrey Timmins is Emeritus Professor in the School of Humanities, Language, and Global Studies at the University of Central Lancashire.
Exhibition | Portraits en Majesté: de Troy, de Largillierre, Rigaud
Nicolas de Largillierre, La Belle Strasbourgeoise , detail, ca. 1703, oil on canvas, 132 × 106 cm. The painting sold at Christie’s in Paris on 15 September 2020 (Sale 19158, Lot 212) for €1.57million, surpassing its high estimate of €1million.
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Now on view at the Musée d’art Hyacinthe Rigaud:
Portraits en Majesté: François de Troy, Nicolas de Largillierre, Hyacinthe Rigaud
Musée d’art Hyacinthe Rigaud, Perpignan, 26 June — 7 November 2021
Curated by Pascale Picard, Dominique Brême, and Ariane James-Sarazin
S’inscrivant naturellement dans la programmation du musée d’art Hyacinthe Rigaud dont les collections accordent une large place à l’enfant du pays, Portraits en majesté bénéficie d’un partenariat exceptionnel avec le musée national des châteaux de Versailles et de Trianon.
Portraits en majesté valorise de façon inédite—puisque c’est la première fois qu’un tel rapprochement est proposé—les trois artistes français qui, de Louis XIV à Louis XV ont révolutionné l’art du portrait : François de Troy (1645–1730), Nicolas de Largillierre (1656–1746) et Hyacinthe Rigaud (1659–1743), au travers d’une sélection généreuse et exigeante de leurs plus belles œuvres qui transcendent le genre et s’imposent avant tout pour leur esthétique. Chaque salle souligne tant la singularité de la matière des trois peintres que les éléments de vocabulaire (format, veine, modèle, composition…) relevant d’une inspiration commune. Le rapprochement de leurs œuvres met en exergue le fait que le portrait, tels que de Troy, de Largillierre et Rigaud le conçurent, se voulait une création d’art total, réunissant en son sein tous les genres.
La commissaire générale
• Pascale Picard, Directrice du musée d’art Hyacinthe Rigaud de Perpignan
Les commissaires scientifiques
• Dominique Brême, Directeur du musée du Domaine départemental de Sceaux
• Ariane James-Sarazin, Conservatrice générale du patrimoine, Directrice adjointe du musée de l’Armée de Paris
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Dominique Brême and Ariane James-Sarazin, eds., Portraits en Majesté: François de Troy, Nicolas de Largillierre, Hyacinthe Rigaud (Milan: Silvana Editoriale, 2021), 296 pages, ISBN: 978-8836644209, €35.
Au cours de son règne—le plus long de l’histoire de France—Louis XIV accorda aux arts une place centrale dans l’accompagnement de son projet politique : architecture, peinture, sculpture, musique ou danse bénéficièrent ainsi d’un mécénat royal quasiment sans limite. Représentant les acteurs de cet âge d’or, le portrait peint trouva particulièrement à s’y épanouir, surtout à partir des années 1680, lorsque trois artistes, concurrents mais amis, entreprirent de renouveler le modèle trop sage du portrait classique en lui insufflant un élan baroque inattendu. Francois de Troy (1645–1730), Nicolas de Largillierre (1656–1746) et Hyacinthe Rigaud (1649–1753) révolutionnèrent ainsi la syntaxe du portrait français et, plus généralement, du grand portrait d’apparat européen. Habiles à varier incessamment sur un schéma de composition très contraignant—celui du triangle de base de la figuration humaine—ils donnèrent au genre ses lettres de noblesse en le hissant à un niveau de difficulté de conception et de qualité d’exécution au moins égal à celui des grands tableaux d’histoire. Accompagnant l’exposition d’une centaine de chefs-d’œuvre, ce livre étudie les modalités pratiques, théoriques et esthétiques de l’art du portrait français à son apogée.
New Book | French Rococo Ébénisterie
From The Getty:
Anne-Lise Desmas, ed., French Rococo Ébénisterie in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2021), 320 pages, ISBN: 978-1606066300, $75. Available as a free online publication, in multiple formats, here»
The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture.
This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer.
This open-access catalogue is available for free online and in multiple formats for download, including PDF, MOBI/Kindle, and EPUB. For readers who wish to have a bound reference copy, this paperback edition has been made available for sale.
C O N T E N T S
Timothy Potts, Director’s Foreword
Glossary of Woods Used in French Furniture from the J. Paul Getty Museum Collection
Contributors
Essays
• Anne-Lise Desmas — Introduction: Acquisitions History of the Rococo Ébénisterie Collection
• Jessica Chasen, Arlen Heginbotham, and Michael Schilling — The Analysis of East Asian and European Lacquer Surfaces on Rococo Furniture
• Arlen Heginbotham — Technical Note: The Use of X-Ray Fluorescence Spectroscopy (XRF) in the Technical Study of Gilt Bronze Mounts in This Catalogue
Catalogue
Bibliography
About
New Book | Watteau, Gersaint, et le Pont Notre-Dame
From Presses Universitaires du Septentrion:
Youri Carbonnier, Sophie Raux, Christophe Renaud, François Rousselle, eds., avec Youri Carbonnier, Laura Louvrier-Masquelier, Nicolas Moucheront, Mylène Pardoen, Sophie Raux, Sophie Reculin, Christophe Renaud, François Rousselle, Rémi Synave, Watteau, Gersaint, et le pont Notre-Dame à Paris au temps des Lumières: Les enjeux d’une restitution numérique (Villeneuve-d’Ascq: Éditeur Presses Universitaires du Septentrion, 2021), 208 pages, ISBN: 978-2757432839, 22€. Also available in a PDF edition.
Le pont Notre-Dame fut l’un des ponts habités les plus extraordinaires de Paris. Son histoire reste attachée à un événement : la présentation éphémère en façade de la boutique de Gersaint de la fameuse Enseigne peinte par Watteau en 1720. À quoi ressemblait ce pont monumental avant la destruction de ses habitations? Pourquoi L’Enseigne de Gersaint eut-elle un tel retentissement? Comment se projeter dans cet univers si étranger à notre expérience actuelle des ponts parisiens? Comment dépasser l’image mentale que chacun peut se faire à partir des sources qui nous sont parvenues? Autant de questions qui ont motivé cette restitution numérique du pont Notre-Dame. En s’attachant à restituer le sens des espaces et des volumes de son architecture disparue, ainsi qu’à rendre sensible l’ambiance lumineuse et sonore de son environnement, ses auteurs offrent une exploration inédite en 5D du pont, ainsi qu’une réflexion sur l’apport des technologies numériques à la recherche historique.
S O M M A I R E
Sophie Raux
• Introduction : Un dialogue entre présent et passé
Youri Carbonnier
• Le pont Notre-Dame
• Des maisons sur un pont
• La pompe du pont Notre-Dame
Sophie Raux
• Le pont Notre-Dame et le commerce d’art à Paris
Christophe Renaud
• Restitutions historiques et photoréalisme
• Notions de simulation d’éclairage
Sophie Reculin
• Ombres et lumières sur le pont Notre-Dame : la première simulation de l’éclairage public durant l’époque moderne
Nicolas Moucheront
• L’histoire du pont Notre-Dame au XVIIIe siècle : enjeux professionnels et épistémologiques
François Rousselle
• La restitution du pont Notre-Dame en 3D temps réel
Mylène Pardoen
• De l’ambiance sonore
Sophie Raux
• De quoi L’enseigne de Gersaint était-elle l’image ?
• Jean Antoine Watteau (Valenciennes, 1684 – Nogent-sur-Marne, 1721)
• Edme-François Gersaint (Paris, 1694 – Id., 1750)
Laura Louvrier, François Rousselle, Rémi Synave
• Restituer l’intérieur de la boutique de Gersaint : questions méthodologiques et techniques
François Rousselle
• Des applications adaptées aux supports de restitution
Youri Carbonnier
• Paysage restitué, paysage recréé, paysage rêvé ?
• Apports et limites de la restitution 5D du pont Notre-Dame
Index des noms
Liste des auteurs
Remerciements
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Also see, Sophie Raux, “Virtual Explorations of an 18th-Century Art Market Space: Gersaint, Watteau, and the Pont Notre-Dame,” Journal18, Issue 5 Coordinates (Spring 2018), https://www.journal18.org/2542. DOI: 10.30610/5.2018.3
Exhibition | The Hidden Horizontal: Cornices in Art and Architecture
Giovanni Battista Piranesi, De Romanorum magnificentia et architectura: Della magnificenza ed architettura de’ Romani (Rome, 1761). ETH-Bibliothek Zürich, Rar 1311.
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From the press release for the exhibition:
The Hidden Horizontal: Cornices in Art and Architecture
Die unterschätzte Horizontale: Das Gesims in Kunst und Architektur
Graphische Sammlung ETH Zürich, 25 August — 14 November 2021
Curated by Linda Schädler and Maarten Delbeke, with Anneke Abhelakh, David Bühler, and Emma Letizia Jones
In architecture, the cornice hides in plain sight. Omnipresent as the elaborate junction between roof and wall, or wall and ceiling, this ornamental element seems to have attracted far less attention from architects, critics, or theoreticians than, for instance, columns or the architectural orders. But in a new exhibition at the Graphische Sammlung ETH Zürich, the cornice makes its long overdue grand entrance, displaying its many incarnations in art and architecture. Over 150 drawings, prints, books, and objects from the 15th century to the present day are united in a new dialogue, some shown for the first time in Switzerland.
Cornices are everywhere. Once you start looking, their ubiquity is almost irritating. Windows, doors, ceilings, mirrors, and wall panelling from across the centuries sport elaborate profiles at their edges. The skyline of any city street is a ragtag procession of cornices in various states of materiality, refinement, and maintenance. It does not stop there. Cars and clothes, furniture, and household objects feature their own cornice-like elements. Strips, bands, and lines of paint act like cornices by framing, delineating, or crowning almost any kind of artefact. Still, they attract far less attention from architects, critics, theoreticians, or even the general public than other building parts. In response, a reappraisal of this underrated element are presented in the current exhibition at Graphische Sammlung ETH Zürich, where the cornice is placed at centre stage.
Giuseppe Gallli Bibiena, Sketch for Set Decoration ‘Scena per angolo’, 1700–50, pen and ink drawing (Graphische Sammlung ETH Zürich).
The cornice, once an essential part of any classical composition, incurred the wrath of modernists at the beginning of the 20th century. It has, at various times, been identified as the most expressive part of architecture, as well as the most problematic. It has drawn attention to itself in drawings, etchings, and other works of art. Hence, a history of the cornice in many ways offers a new window onto the multiple histories of architecture and its representations. For, on account of its ubiquity, the cornice carries several layers of meaning: as an element defined by, and defining building regulations; as the solution to the technical problem of joining wall and roof; and as a site to expression of social aspirations or distinction. As the visual limit of a construction, the cornice is as much about the individual building as it is about the city or the landscape. As an ornament applied to buildings, it involves matters of taste and aesthetics as much as of craft and industrial production. And as a subject depicted in two-dimensional works of art on paper, it allows us to interrogate the art historical conventions of image-viewing and composition. Finally, as a complex three-dimensional object, the cornice raises questions of cultural representation and communication through material transfers over time.
The exhibition unites a unique selection of drawings, prints, books, and objects from the 15th century to the present day. Authors and artists exhibited include Francesco di Giorgio Martini, Giovanni Battista Piranesi, Gottfried Semper, Frank Lloyd Wright, and Le Corbusier, amongst many others. By bringing works from earlier centuries from the ETH collections into direct dialogue with loans from important institutions in Switzerland and abroad—including the Fondation Le Corbusier, Paris, the Louvre, the Biblioteca Nazionale Centrale di Firenze, the Art Institute of Chicago, the Canadian Centre for Architecture, Montreal, the Drawing Matter Collections (UK), the Berlin State Museums, the Rietberg Museum Zurich, and more—the exhibition exposes the ‘hidden horizontal’ at the centre of five centuries of art and design thinking.
Featuring works by:
Cherubino Alberti, Daniel Badger, Ottavio Antonio Baiardi, Baccio Bandinelli, Pietro Santi Bartoli, Nicolas Beatrizet, François-Joseph Bélanger, Stefano della Bella, Ferdinando and Giuseppe Galli Bibiena, Jacques-François Blondel, Jan van Bronchorst, Andreas Buschmann, Richard Cahan, Cesare Cesariano, Charles Chipiez, François Collignon, Francesco Colonna, Le Corbusier, Pascal Coste, Marco Dente after Raphael, Deutscher Werkbund, Wendel Dietterlin, Giovanni Dosio, Albrecht Dürer, Louis-Émile Durandelle, Charles Eisen, Theodor Fischer, Domenico Fontana, Johannes Gachnang, George Jackson and Sons, Ludger Gerdes, Francesco di Giorgio Martini, Hubertus Goltzius, Karl Adolf Graffenried, Michael Graves, Iain Hales, Herzog & de Meuron, Utagawa Hiroshige, Jacques Hittorff, Daniel Hopfer, Lucas Kilian, Henri Labrouste, Mari Lending, Johann Baptist Marzohl, Johann Matthäus Mauch, Meister GA mit der Fussangel, Nicoletto da Modena, Richard Nickel, Friedrich Ohmann, Ordinary Architecture (Charles Holland and Elly Ward), Andrea Palladio, Manuel Pauli, Georges Perrot, Pablo Picasso, Christiane Pinatel, Giovanni Battista Piranesi, Marcantonio Raimondi, Mies van der Rohe, Diego Prévost Sagredo, Antonio Sangallo the Younger, Karl Friedrich Schinkel, Gottfried Semper, Sebastiano Serlio, Hermann Spielberg, Philippe Starck, Christian Ludwig Stieglitz, Gabriel Ludwig Stürler, Johann Georg Sulzer, Charles Heathcote Thatham, Philippe Thomassin, Constantin Uhde, Agostino Veneziano, Howard Charles Walker, Frank Lloyd Wright, Giacomo Barozzi da Vignola, Eugène-Emmanuel Viollet-le-Duc, Hans Vredeman de Vries, and Nicolai Zabaglia.
The presentation is jointly organised by the ETH collection of prints and drawings, Dr. Linda Schädler, and the chair of the History and Theory of Architecture ETH Zürich, Prof. Dr. Maarten Delbeke. Additional curatorial support has been provided by Anneke Abhelakh, David Bühler, and Dr. Emma Letizia Jones.
Programming details including guided tours, a lecture series, and walks can be found here.
Publications
Illustration from Vorbilder für Fabrikanten und Handwerker (‘Patterns for Manufacturers and Handicraftsmen‘), edited by Christian Peter Wilhelm Beuth and Karl Friedrich Schinkel (1821).
A special edition of gta papers (the journal of the Institute for the History and Theory of Architecture ETH Zurich) dedicated to the cornice will be published in Fall 2021 to coincide with the exhibition (retail price: Fr. 25.–). Edited by Maarten Delbeke, Erik Wegerhoff, and Adam Jasper, the issue features an introduction by Maarten Delbeke and texts by Richard Anderson, Guido Beltramini, Emma Letizia Jones, Edoardo Piccoli, Linda Schädler, Oliver Streiff, David Bühler, Flavia Crisciotti, Linda Stagni with Claudio Gianocelli, Xu Han, and Maxime Zaugg.
The September 2021 issue of werk, bauen + wohnen focuses on the cornice as well. It contains an introduction by Maarten Delbeke, the first German translation of Luigi Moretti’s 1952 text “I valori della modenatura: Wert und Wirkung plastischer Profile,” a text by Mario Rinke, and reviews of projects by De Smet Vermeulen Architecten, 31/44 Architects, KilgaPopp Architekten, Joos & Mathys Architekten, Lütjens Padmanabhan Architekten, and Studio Anne Holtrop.
New Book | Château de Haroué
From Rizzoli:
Victoria Botana de Beauvau-Craon, with photographs by Miguel Flores-Vianna and foreword by Jean-Louis Deniot, Château de Haroué: The Home of the Princes de Beauvau-Craon (New York: Rizzoli, 2021), 272 pages, ISBN: 978-0847870929, $65.
A dazzling tour of Château de Haroué, the epitome of opulent French style and one of today’s must-see examples of vibrant eighteenth-century architecture and design.
Located in a remote village in the Lorraine region of northeastern France, the estate of Chateau de Haroue is an unrivaled treasure of Gallic culture and heritage. Built between 1720 and 1729 for Marc de Beauvau, Prince de Beauvau-Craon, constable of Lorraine and viceroy of Tuscany, his descendants have inhabited the castle and kept it going in high style ever since. Here, readers are invited to discover the château’s impressive architecture and fashionably chic interior design. Newly commissioned photographs by Miguel Flores-Vianna alongside archival documents offer unprecedented access to 82 sumptuous rooms, which are enlivened by dynamic tapestries and family portraits, a breathtaking artwork collection, and stately antique furniture. Informative texts by Victoria Botana de Beauvau, one of France’s preeminent modern-day aristocrats and an It girl in Parisian society, paint a picture of the castle’s architectural splendors, lifestyle, notable events, and her family’s unique approach to keeping history alive.
Victoria Botana de Beauvau is a creative director and producer. Miguel Flores-Vianna is a renowned Argentine-born, London-based photographer whose images regularly appear in Architectural Digest and Cabana magazine. Jean-Louis Deniot is a French interior designer and a close friend of the de Beauvau-Craon family.
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