The Burlington Magazine, October 2025
The long 18th century in the October issue of The Burlington:
The Burlington Magazine 167 (October 2025)
Jean-Auguste-Dominique Ingres, Self-Portrait at the Age of Twenty-Four, 1804, revised 1850–51, oil on canvas, 77 × 61 cm (Musée Condé, Chantilly).
e d i t o r i a l
• “The Story of Art at 75,” p. 959.
Gombrich’s The Story of Art is seventy-five years old this year. Its clarity of conception and expression, civilised values, and the enormous benefits that have undoubtedly resulted from its publication should be a cause for continuing admiration and celebration.
a r t i c l e s
• Sylvain Bédard, “New Proposals about Ingres’s Self-Portrait at the Age of Twenty-Four,” pp. 982–93.
Of all the self-portraits painted by Jean-Auguste-Dominique Ingres, that of 1804 now in the Musée Condé, Chantilly, remains the most discussed. The focus of criticism when it was exhibited in 1806, the painting was taken up again and transformed by the artist during his old age. Here a revised sequence for these modifications is proposed and corrections are made to its earlier history.
• Emma Roodhouse, “Scraps of Genius, Taste and Skill: Works by John Constable in the Mason Album,” pp. 994–1001.
An album emerged at auction in 2020 and was acquired by Colchester and Ipswich Museums. It included hitherto unknown and very early works by John Constable and was compiled by the Mason family, the artist’s relatives in Colchester. These juvenilia are assessed here and placed in the context of Constable’s artistic evolution and his wide social circle.
• Edward Corp, “A Recently Identified Scottish Portrait of Bonnie Prince Charlie by Katherine Read,” pp. 1012–15.
There is a set of three portraits showing the exiled King James III (1701–66) and his two sons, Prince Charles Edward Stuart (1720–88) and Prince Henry Benedict Stuart, Cardinal Duke of York (1725–1807), which are here attributed to Katherine Read (1723–78) and were painted while she was living in Rome between 1750 and 1753. The paintings, which are all in a Somerset collection, have similar dimensions and are framed within painted stone ovals, which have chips and carvings; it seems evident that they were made to be displayed together.
r e v i e w s
• Hugh Doherty, Review of the exhibition catalogue La Rotonde de Saint-Bénigne: 1000 ans d’histoire, ed. by by Franck Abert, Arnaud Alexandre, and Christian Sapin (Faton, 2025), pp. 1033–35.
• Cloe Cavero de Carondelet, Review of the exhibition catalogue Tan lejos, tan cerca: Guadalupe de México en España, ed. by Jaime Cuadriello and Paula Mues Orts (Prado, 2025), pp. 1039–41.
• Elena Cooper, Review of Cristina Martinez and Cynthia Roman, eds., Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge: Cambridge University Press, 2024), pp. 1052–53.
• Clive Aslet, Review of Juliet Carey and Abigail Green, eds., Jewish Country Houses (Brandeis University Press, 2024), pp. 1056–57.
o b i t u a r y
• Colin Thom, Obituary for Andrew Saint (1957–2024), pp. 1059–60.
A longstanding editor for the Survey for London, an astute architectural scholar, and a personable educator, Andrew Saint effortlessly combined many skills. His time as a professor in the University of Cambridge’s Department of Architecture shaped numerous future careers, and his contributions to the Survey enriched the history of London’s urban fabric.
The Burlington Magazine, September 2025
Canaletto, Cappriccio: The Ponte della Pescaria and Buildings in the Quay, Showing Zecca on the Right, 1744(?), oil on canvas, 84 × 130 cm
(Royal Collection Trust, © His Majesty King Charles III 2025)
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The long 18th century in the September issue of The Burlington:
The Burlington Magazine 167 (September 2025) | Italian Art
a r t i c l e s
• Gregorio Astengo and Philip Steadman, “Canaletto’s Use of Drawings of Venetian Buildings by Antonio Visentini,” pp. 896–905.
The use by Canaletto of measured drawings by Antonio Visentini and his assistants is fully considered here for the first time. He ingeniously utilised them at different points in his career to provide images of buildings in both his ‘vedute’ and ‘capricci’. This creative borrowing was possible because both painters formed part of the same successful network of artists, scientists, and patrons.
r e v i e w s
• Philippe Bordes, Review of the exhibition Duplessis (1725–1802): The Art of Painting Life / L’art de peindre la vie (Inguimbertine, Carpentras, 2025), pp. 924–27.
• Colin Bailey, Review of Katie Scott and Hannah Williams, Artists’ Things: Rediscovering Lost Property from Eighteenth-Century France (Getty Research Institute, 2024), pp. 946–48.
• Karl-Georg Pfändtner, Review of Olivier Bosc and Sophie Guérinot, eds., L’Arsenal au fil des siècles: De l’hôtel du grand maître de l’Artillerie à la bibliothèque de l’Arsenal (Le Passage / BNF, 2024), pp. 951–52.
• Timothy Revell, Review of Lieke van Deinsen, Bert Schepers, Marjan Sterckx, Hans Vlieghe, and Bert Watteeuw, eds., Campaspe Talks Back: Women Who Made a Difference in Early Modern Art (Brepols: 2024), pp. 952–53.
• Jonathan Yarker, Review of Katherine Jean McHale, Ingenious Italians: Immigrant Artists in Eighteenth-Century Britain (Brepols, 2024, p. 953.
• Conal McCarthy, Review of Deidre Brown, Ngarino Ellis, and Jonathan Mane-Wheoki, Toi Te Mana: An Indigenous History of Māori Art (University of Chicago Press, 2025), pp. 953–54.
Exhibition | Vanbrugh: The Drama of Architecture
Soane office, Royal Academy Lecture Drawings of the work of Sir John Vanbrugh, Blenheim Palace, elevation
(London: Sir John Soane’s Museum, SM 74/4/8)
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The exhibition opens in the spring; the book launches this fall:
Vanbrugh: The Drama of Architecture
Sir John Soane’s Museum, London, 4 March — 28 June 2026
Curated by Charles Saumarez Smith
300 years after his death, a major new exhibition exploring one of the UK’s greatest architects—Sir John Vanbrugh (1664–1726)—will open in the spring at Sir John Soane’s Museum. Some of the UK’s most admired and loved country houses like Blenheim Palace and Castle Howard were the result of Vanbrugh’s genius, becoming cornerstones of English Baroque. Soane cited him as one of his great influences, saying Vanbrugh had “all the fire and power of Michelangelo and Bernini.”
Curated by Sir Charles Saumarez Smith CBE and architect Roz Barr, the exhibition will feature never-before-exhibited drawings from the collections of the V&A, the Royal Institute of British Architects, the National Portrait Gallery, and Sir John Soane’s Museum, including many in Vanbrugh’s own hand. Perhaps overshadowed by contemporaries Nicholas Hawksmoor and Sir Christopher Wren, the emotional impact and imagination of Vanbrugh has continued to be admired, particularly by architects, in the centuries since. The exhibition will highlight Vanbrugh’s enduring architectural ideas and influence, including on two of the most influential architects of the 20th century, Robert Venturi (1925–2018) and Denise Scott Brown (b.1931). A new short film by filmmaker Jim Venturi, their son, will explore this connection and will be shown on loop in the Museum’s Foyle Space. Vanbrugh: The Drama of Architecture will introduce new audiences to the work of an English Baroque architect, adventurer, playwright, and spy 300 years after his death.
Charles Saumarez Smith, John Vanbrugh: The Drama of Architecture (London: Lund Humphries, 2025), 272 pages, ISBN: 978-1848227316, £30.
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Book tickets at Wigmore Hall:
Book launch | John Vanbrugh: The Drama of Architecture
The Wigmore Hall, London, 20 November 2025, 12.30pm
Charles Saumarez Smith will give a lunchtime talk on Vanbrugh’s extraordinary life: his upbringing; why he spent so much time in a French gaol; the writing of The Relapse and The Provoked Wife; and how he came to design Castle Howard with no previous experience of architecture. Saumarez Smith will give particular attention to Vanbrugh’s work as a theatrical impresario and the designer of the Queen’s Theatre, Haymarket, so disastrous as a venue for plays, but where all of Handel’s early operas were performed. He will then describe Vanbrugh’s quarrel with the Duchess of Marlborough and his later work as an architect, at King’s Weston, Claremont, Grimsthorpe, Seaton Delaval, and Stowe. In recent years, Vanbrugh’s reputation as an architect has been eclipsed by his subordinate, Nicholas Hawksmoor. This talk and the accompanying book will explain Vanbrugh’s originality and influence on later architects from Robert Adam to Robert Venturi and Denise Scott Brown.
Exhibition | Mary Linwood: Art, Stitch and Life
Mary Linwood, Pomeranian Dog, detail, needlework, 68 × 86 cm
(Leicester Museum & Art Gallery)
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Now on view, as noted by Adam Busiakiewicz for the Art History News blog:
Mary Linwood: Art, Stitch, and Life
Leicester Museum & Art Gallery, 13 September 2025 — 22 February 2026
A retrospective of the Leicester textile artist Mary Linwood (1755–1845)
Leicester’s Mary Linwood was a celebrity artist in the early 1800s but has since been largely forgotten. She created detailed embroidered versions of famous British paintings using a technique known as needle painting. Linwood was not only a talented artist but also an innovator and entrepreneur. Alongside running a successful school for young ladies in Leicester, she exhibited her embroidered works in touring exhibitions and established the first gallery in London to be run by a woman. In her lifetime, Linwood was supported by the wealthy and powerful, and was widely respected and well known. Since her death, however, she has been overlooked and undervalued. This exhibition is the first retrospective of Mary Linwood’s work since 1945, featuring 14 embroidered works from the Leicester Museums collections. Alongside these historic pieces are new textile artworks by Ruth Singer, reflecting on Linwood’s life and legacy.
Ruth Singer, Lost Threads: Mary Linwood’s Legacy (2025), 60 pages, £15. Available for purchase here.
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It’s also a fine opportunity to remind readers of Heidi Strobel’s recent book, The Art of Mary Linwood: Embroidery, Installation, and Entrepreneurship in Britain, 1787–1845. –CH
Exhibition | Jacques-Louis David
Jacques-Louis David, The Intervention of the Sabine Women, detail, 1799, oil on canvas, 3.85 × 5.22 meters
(Paris: Musée du Louvre)
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From the press release for the exhibition:
Jacques-Louis David
Musée du Louvre, Paris, 15 October 2025 — 26 January 2026
Curated by Sébastien Allard and Côme Fabre, with assistance from Aude Gobet
David is a towering figure. Considered the father of the French School, revered for breathing new life into painting, he produced imagery that to this day inhabits the collective imagination: from The Death of Marat to Napoleon Crossing the Alps and The Coronation of Napoleon, his paintings are the filter through which we picture the great moments of the French Revolution and the Napoleonic Empire, while his portraits bring to life the society of this period.
Jacques-Louis David, Portrait of Robertine Tourteau d’Orvilliers, née Rilliet (1772–1862), 1790, oil on canvas, 131 × 98 cm (Paris: Musée du Louvre / Adrien Didierjean / Sylvie Chan-Liat).
To mark the bicentennial of his death in exile in Brussels in 1825, the Musée du Louvre is offering a new perspective on a figure and body of work of extraordinary richness and diversity. The exhibition shines a light on the inventive force and expressive power of the art of Jacques-Louis David (1748–1825), whose paintings are more intensely charged with feeling than is belied by their extreme rigour. The exhibition spans the long career of an artist who witnessed six different political regimes and actively participated in the French Revolution. It gathers 100 works on special loan, including the imposing, incomplete Tennis Court Oath (Château de Versailles, long-term loan from the Musée du Louvre), and the original version of his masterpiece, the celebrated Death of Marat (Royal Museums of Fine Arts of Belgium, Brussels).
A project of such ambition could only be undertaken at the Louvre, which holds the largest existing collection of the artist’s paintings and drawings—including, first and foremost, his very large canvasses. The last major monographic exhibition devoted to David was held at the Louvre and the Château de Versailles in 1989 for bicentennial commemorations of the French Revolution. Enhanced by research conducted in the ensuing three decades, the 2025 exhibition will present a new survey revealing the unprecedented richness of David’s journey, combining artistic and political activity. Indeed, more than simply an artist observing this formative period in French history, spanning the years 1748–1825, he sought to be a prominent social actor.
The painter’s importance was unmatched in his day, for his Europe-wide artistic influence, as well as the high political offices he held in 1793–1794 alongside Robespierre, for which he suffered the consequences as a political exile after the fall of Napoleon.
The exhibition is curated by Sébastien Allard, Senior Heritage Curator, Director of the Department of Paintings, and Côme Fabre, Curator, Department of Paintings, and assisted by Aude Gobet, Head of the Department of Paintings Research Centre, Musée du Louvre. The exhibition design is by Juan-Felipe Alarcón, with graphic design by Philippe Apeloig.
Sébastien Allard, ed., Jacques-Louis David (Paris: Louvre éditions/ Hazan, 2025), 360 pages, €49.
The catalogue reflects the exhibition in offering new perspectives on David’s role and position, focusing on two essential aspects of his activity: his involvement during the French Revolution; and, after the fall of the First Empire and his exile to Brussels, his confrontation with the new generation—and Ingres, in particular—whose training he had largely overseen. The publication is divided into two parts. In the first, an essay by Sébastien Allard seeks to shift perceptions of the artist, examining his life as a coherent whole, in contrast to how historians have tended to fragment it according to the different political regimes David experienced. Sumptuous reproductions, including numerous details, help remove the proverbial dust from the image sometimes held of the painter’s work. The second part encompasses an essay by Côme Fabre on the connections between David and the Louvre; a biographical account by Aude Gobet; and a chronology of major David-related moments, from his death to today, by Morgane Weinling.
New Book | European Sculpture in the Collection of His Majesty The King
Distributed by Yale University Press:
Jonathan Marsden, European Sculpture in the Collection of His Majesty The King (London: Modern Art Press in association with the Royal Collection Trust, 2025), 4 volumes, 1648 pages, ISBN: 978-1738487813, £350 / $450.
This four-volume publication marks the completion of one of the most ambitious stages in the long-term task of cataloguing sculpture in the Royal Collection.
The scope of the catalogue—covering sculpture in all materials from the fifteenth to the late twentieth century—is unprecedented. Incorporating countless new attributions and identifications and the results of conservation and scientific examination, the catalogue will be an indispensable work of reference for all students of post-medieval sculpture, impressive not only in the quality of its scholarship but also for the extent and depth of the documentation. Highlights include an exceptional group of bronze busts from the Italian and Northern Renaissance, the first bronze casts of ancient sculpture to be made in Britain, the best ensemble of French seventeenth- and eighteenth-century bronzes outside France, unrivalled examples of English portrait sculpture from the seventeenth century onwards and the most complete surviving collection of Victorian sculpture. With an introductory survey covering the relationships between British monarchs and sculptors since the seventeenth century and the impact of sculpture in the interiors of the royal palaces over the same period, the admirably clear and engaging text is essential reading for students of royal collecting. It is accompanied by almost 2,000 illustrations, most of which have been commissioned for this book.
Jonathan Marsden was Director of the Royal Collection and Surveyor of The Queen’s Works of Art from 2010 to 2017, having served as Deputy Surveyor from 1996. Prior to this, he worked for the National Trust as a Historic Buildings Representative in North Wales and Oxfordshire.
Exhibition | Le Petit Salon
Now on view at the Middlebury College Museum of Art:
Le Petit Salon: The Journey of an 18th-Century Room from Paris to Vermont
Middlebury College Museum of Art, 8 July — 7 December 2025
The Middlebury College Museum of Art possesses a jewel of French neoclassicism, Le Petit Salon, a delicately painted, paneled room made around 1776 for a Parisian mansion. It was designed by Pierre-Adrien Pâris ( 1745–1819), subsequently the architect of court fêtes for Louis XVI and Marie-Antoinette. His client was the duc d’Aumont, a renowned collector and patron of the arts, who had the panels installed in his Paris home, now the Hôtel de Crillon on Place de La Concorde. Gifted to Middlebury in 1959, but held in storage since the 1990s, the room will be reassembled for the first time in three decades.
The exhibition follows the journey of Le Petit Salon from Paris to Middlebury via Manhattan, where for fifty years it formed part of the decor of the Bliss family’s Gilded Age mansion. At Middlebury, the Petit Salon became part of Le Château, the college’s French language dorm, itself a fanciful recreation of a 16th-century Norman manoir. The exhibition incorporates Pâris’s 1776 exquisite watercolor elevations of Aumont’s mansion, as well as studies from his long educational sojourn in Rome and Naples. Included in the exhibition are loans from Bowdoin College, the Metropolitan Museum of Art, the Cooper-Hewitt National Design Museum, and the Fine Arts Museum of Besançon.
Gabriel Wick, Le Petit Salon: The Journey of an 18th-Century Room from Paris to Vermont (Saint-Remy-en-l’Eau: Monelle Hayot, 2025), 192 pages, €35.
Exhibition | Valkenburg — Willem de Rooij
Dirk Valkenburg, Study of Cashews, Maracujas, a Tropical Chicken Snake, and an Ameiva Lizard from Suriname, detail, 1706–08, oil on canvas, 40 × 48 cm (Musée des Beaux-Arts de Quimper).
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Now on view at Utrecht’s Centraal Museum:
Valkenburg — Willem de Rooij
Centraal Museum Utrecht, 13 September 2025 — 25 January 2026
Dirk Valkenburg (1675–1721) was one of the first Europeans to depict Indigenous and enslaved people on Surinamese plantations, while also painting hunting still lifes and portraits of Dutch elites. The breadth of his oeuvre makes it particularly relevant for research into colonial image production and the ‘white gaze’. In this installation, Willem de Rooij displays 30 works in idiosyncratic combinations, inviting reflection on how these 18th-century Dutch elites used art to support and legitimise colonial ideology.
Since the early 1990s, Willem de Rooij (b. 1969) has created temporary installations in that explore the politics of representation through appropriation and collaboration. In 2005, he represented the Netherlands at the Venice Biennale and has since exhibited in leading museums worldwide. A distinctive feature of his practice is the reuse and rearrangement of existing images and objects, often based on in-depth art-historical and cultural research. In doing so, he creates new meanings between diverse visual elements. Recent exhibitions include King Vulture (Akademie der Künste, Vienna) and Pierre Verger in Suriname (Portikus, Frankfurt). De Rooij teaches in Frankfurt, Berlin, and Amsterdam and lectures internationally.
The exhibition will be accompanied by the first comprehensive publication on Dirk Valkenburg’s oeuvre: a catalogue raisonné developed in collaboration with the RKD–Netherlands Institute for Art History. This volume, edited by Willem de Rooij and Karwan Fatah-Black—historian and expert in Dutch colonial history, (Leiden University)—includes new essays by international scholars and thinkers from various disciplines, including art history, anthropology, postcolonial, and queer studies.
Print Quarterly, September 2025
David Lucas, after John Constable, A Mill, 1829, mezzotint, 182 × 250 mm
(Cambridge, Fitzwilliam Museum, inv. P.145-1954)
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 42.3 (September 2025)
a r t i c l e s
• Elenor Ling and Harry Metcalf, “John Constable’s Working Relationship with David Lucas on the English Landscape Series,” pp. 272–85. This article examines the collaborative partnership between John Constable (1776–1837) and his engraver David Lucas (1802–81) using the mezzotint print series English Landscape as a case study, based particularly on the technical examination of various impressions and plates.
• Niklas Leverenz, “Lithographs from Shanghai of the East Turkestan Engravings, 1890,” pp. 301–06. This short article examines the popularity of the East Turkestan engravings depicting the 1755–60 Qianlong Emperor’s conquest. Leverenz specifically discusses a set of 34 photolithographs printed in 1890 by the photographer Herman Salzwedel (active c. 1877–1904) in Shanghai.
n o t e s a n d r e v i e w s
Claude Gillot, The Speculator Raised by Fortune to the Highest Degree of Wealth and Abundance, 1710–11, counterproof of engraving, with additions in red chalk, 255 × 220 mm (Paris, Private collection).
J.-Louis Darcis, after Guillaume Lethière, Portrait of Jean Jacques Rousseau, 1795, engraving, platemark 355 × 305 mm, page 440 × 320 mm (Paris, Bibliothèque Nationale de France).
• Dagmar Korbacher, Review of Andaleeb Badiee Banta, Alexa Griest and Theresa Kutasz Christiensen, eds., Making Her Mark: A History of Women Artists in Europe, 1400–1800 (Goose Lane Editions, 2023), pp. 307–10.
• Daniel Godfrey, Review of Gwendoline de Mûelenaere, Early Modern Thesis Prints in the Southern Netherlands: An Iconological Analysis of the Relationship between Art, Science, and Power (Université Catholique de Louvain, 2022), pp. 310–12.
• Meredith M. Hale, Review of Julie Farguson, Visualising Protestant Monarchy: Ceremony, Art and Politics after the Glorious Revolution, 1689–1714 (The Boydell Press, 2021), pp. 313–15.
• Rena M. Hoisington, Review of Jennifer Tonkovich, Claude Gillot: Satire in the Age of Reason (Paul Holberton, 2023), pp. 315–17.
• Michael Snodin, Review of Orsola Braides, Giovanni Maria Fara, and Alessia Giachery, eds., L’arte di tradurre l’arte: John Baptist Jackson incisore nella Venezia del Settecento (Leo S. Olschki, 2024), pp. 317–19.
• Benito Navarrete Prieto, Review of Ana Hernández Pugh and José Manuel Matilla, Del lapicero al buril. El dibujo para grabar en tiempos de Goya (Museo del Prado, 2023), pp. 320–24.
• Giorgio Marini, Review of Ilaria Miarelli Mariani, Tiziano Casola, Valentina Fraticelli, Vanda Lisanti, and Laura Palombaro, eds., La storia dell’arte illustrata e la stampa di traduzione tra il XVIII e il XIV secolo (Campisano Editore, 2022), pp. 324–28.
• Julie Mellby, Review of Roberta J. M. Olson, Audubon as Artist: A New Look at The Birds of America (Reaktion Books, 2024), pp. 328–29.
• Thea Goldring, Review of Esther Bell and Olivier Meslay, eds., Guillaume Lethière (Clark Art Institute, 2024), pp. 347–52.
Exhibition | William Blake: Burning Bright
William Blake, The Tyger (Plate 42, from Songs of Innocence and of Experience), detail, 1794, color-printed relief etching with hand coloring in watercolor (New Haven: Yale Center for British Art, Paul Mellon Collection).
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Now on view at YCBA:
William Blake: Burning Bright
Yale Center for British Art, New Haven, 26 August — 30 November 2025
Curated by Elizabeth Wyckoff and Timothy Young
One of the most compelling figures in the history of British art and poetry, William Blake (1757–1827) developed an idiosyncratic worldview during a tumultuous era that witnessed the American and French Revolutions. He expressed his radical perspectives on religious belief, politics, and society through highly original illuminated books, watercolors, paintings, and poetry. This exhibition showcases the Yale Center for British Art’s impressive collection of works by Blake, with special focus on the inventive hand-printed publications that bring to life his poetry and prophecies.
The YCBA’s extensive holdings include Blake’s most innovative and celebrated books, such as Songs of Innocence and of Experience (1789–94) and The First Book of Urizen (1794). Blake’s mastery of watercolor painting and his phenomenal imaginative powers are evident in the one-of-a-kind illustrations for The Poems of Thomas Gray (between 1797 and 1798) and in the only fully hand-colored version of his culminating poem, the 100-page Jerusalem (1804–20). This stunning presentation highlights the artist’s ambitious vision and skill, as well as his unparalleled contributions to art, literature, and spirituality.
Born in London at a time of major social change and upheaval, Blake aspired to be an artist and a poet from a young age. During his apprenticeship, he developed an elegant black-and-white engraving style that he deployed in both commissioned and original prints and book illustrations. He is best known for devising an unorthodox technique to create colorful illuminated books that merged his poetry and his art. His most notable innovation was a method for printing text and image from a single copper plate. Blake’s work was largely unacknowledged during his lifetime, yet today his striking imagery and stirring words are widely celebrated.
Blake, the second volume in the YCBA’s Collection Series, examines the art and methods of William Blake through the lens of one of the great collections of his work. Written by Elizabeth Wyckoff, with an essay by Sarah T. Weston, the book features exquisite reproductions of his paintings, watercolors, prints, and illustrated books, including the only hand-colored copy of his epic poem Jerusalem.
Elizabeth Wyckoff, Blake (New Haven: Yale Center for British Art, 2025), 136 pages, ISBN: 978-0300284577, $40. With an essay by Sarah Weston.
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Programs exploring multiple dimensions of Blake’s life, work, and legacy will accompany the exhibition. Please visit britishart.yale.edu for the most up-to-date information.
Opening Celebration
Thursday, September 4, 4pm
A conversation with exhibition curators Elizabeth Wyckoff, Curator of Prints and Drawings, and Timothy Young, Curator of Rare Books and Manuscripts, followed by gallery talks and a reception.
The Enduring Influence of William Blake
Thursday, October 30, 5pm
Author John Higgs will talk with Timothy Young, Curator of Rare Books and Manuscripts.
Songs from the Imagination: Music Inspired by the Poetry of William Blake
Thursday, November 20, 5pm
Yale Voxtet, the Institute of Sacred Music’s select group of graduate student singers, will perform in the Library Court.
Create Community: Imagined Worlds in the Art of William Blake and Hew Locke
Thursdays, October 2, 16, and 23, 5:30pm
This three-part workshop will explore William Blake: Burning Bright and Hew Locke: Passages through a close investigation of material and process. Enrollment is limited to twelve people, and preregistration is required.
Curator Tours
Thursdays, September 18, October 30, and November 20, 4pm
Docent Tours
Saturdays, 3pm
Enfilade 
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