Enfilade

Exhibition | Making Music in Early America

Posted in exhibitions by Editor on August 6, 2022

From the press release (11 July 2022) for the exhibition:

Making Music in Early America
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, 20 August 2022 — December 2025

Organized by Amanda Keller

Organized piano by Longmen, Clementi & Company, London, 1799 (Colonial Williamsburg: Museum Purchase. Conservation of this instrument is made possible by a gift from Constance Tucker and Marshall Tucker in memory of N. Beverly Tucker, Jr. 2012-150).

In the 18th century, music was everywhere: in the workplace, the military campsites, the quarters of the enslaved, the church, the theater, the ballroom, and the home. Music was an essential part of life that helped foster a sense of community, whether people were accompanying the organ in song at church or enjoying an impromptu concert at home. Making Music in Early America, a new exhibition to open on August 20, 2022, in the Mark M. and Rosemary W. Leckie Gallery at the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg, will envelop visitors in the musical world of the 18th and 19th centuries.

As told through more than 60 instruments and their accessories, the social history and material culture of early American music will be revealed. This is the first exhibition to show the full scope of Colonial Williamsburg’s musical instruments collection including some pieces that were recently acquired. It is scheduled to remain on view through December 2025. Organized in five sections featuring music in the home, in religion, in education, in public performance, and in the military, Making Music in Early America will include harps, organs, violins and other string instruments, fifes, flutes, a bassoon, a grand harmonicon, drums, horns, and much more. While the instruments are fascinating in and of themselves, the musicians who played them and their roles in society take center stage in this exhibition.

“Colonial Williamsburg has been collecting early musical instruments for more than 90 years, but we have never before had the opportunity to show the full range of the collection,” said Ronald Hurst, the Foundation’s Carlisle H. Humelsine chief curator and vice president for museums, preservation, and historic resources. “Supported by examples of original sheet music and paintings of early Americans playing their instruments, this exhibition will place these remarkable objects in their rich, historic context.”

Among the many highlights of Making Music in Early America is a barrel organ, or hand organ, made by Longman, Clementi & Co. in London, England, ca. 1789–1801. It is a hand-cranked organ that could be played inside the home on demand with no musical talent required. The organ barrels operated much like a music box and included dance music, religious music, and military marches. They produced music on demand similar to a juke box or record player, if one had the strength to crank the handle and switch out the barrels to change the tunes. In the 17 September 1767 edition of The Virginia Gazette, an item advertising a similar instrument read: “Just Imported from London, a VERY neat HAND ORGAN, in a mahogany case, with a gilt front, which plays sixteen tunes, on two barrels; it has four stops, and every thing is in the best order. The first cost as 16£ sterling, and the Lady being dead it came in for, any person inclining to purchase it may have it on very reasonable terms. Inquire at the Post Office, Williamsburg.”

“This incredibly diverse collection of musical instruments offers us ways to tell the stories of the people who lived here during the 18th and early 19th centuries by examining who interacted with these instruments and why,” said Amanda Keller, Colonial Williamsburg’s manager of historic interiors and associate curator of household accessories who organized this exhibition. “The instruments become even more fascinating when you discover who played them and what role music played in society.”

One of the earliest hunting horns known in American collections is another featured object in the exhibition. Simple hunting horns were being made in the American colonies as early as 1765, but the majority were imported from Europe like this brass horn, made by Johannes Leichamschneider in Vienna, Austria, ca. 1715. As hunting horns were worn by the rider, they were easily battered. As a result, early hunting horns rarely survived, and this is an outstanding example that scholars come to The Colonial Williamsburg Foundation to study. Although the horn section may have been modified over time and updated, the bell is original. Only one other just like this example survives with a history of use at Mount Vernon. It is recorded that George Washington’s enslaved valet, William Lee, performed the important duties of Huntsman, tending to the horses and hounds, as well as blowing the hunting horn during fox hunts at Mount Vernon and other estates. Although the history of Colonial Williamsburg’s hunting horn is unknown, it illustrates the once-prominent role played by free and enslaved huntsmen in the early South.

Revolutionary War military instruments are especially rare, and this brass ‘Hessian’ drum, from the Frebershausen area in the Hesse-Kassel region of what is now Germany, ca. 1770–85, is another featured object to be on view in Making Music in Early America. It was brought over by one of the many so-called Hessian units hired by the British to fight in the American Revolution and was most likely captured by American forces. Made of brass, this drum still has some secrets to reveal: Colonial Williamsburg’s experts, with the aid of colleagues across the Atlantic, are researching to which regiment it belonged and are using the painted colors around the top and bottom bands to help solve its mystery.

Also included in the exhibition will be ways for visitors to be able to hear the sounds of four of the instruments (banjo, harpsichord, organized piano, and musical glasses) as well as an opportunity to see a musician play an organized piano (the period term indicating the addition of several organ stops playable from the same keyboard).

Additionally, guests will be able to use an interactive touch screen to view an extraordinary music book in the Colonial Williamsburg collection that was owned by Peter Pelham (1721–1805), an English-born American organist, harpsichordist, teacher, and composer. Born in London, Pelham and his family immigrated to Boston in 1730. While there, Pelham’s father apprenticed him to Charles Theodore Pachelbel, son of composer Johann Pachelbel who is known for “Canon in D,” which is still popular today. Pelham followed Pachelbel to Charleston in 1736 and remained there for a number of years, studying with Pachelbel and later becoming a harpsichord teacher himself. Pelham returned to Boston in 1744 to serve as the first organist of Trinity Church. In 1750 Pelham moved to Williamsburg, to serve as organist at Bruton Parish Church. While in Williamsburg Pelham actively participated in the city’s musical life, giving concerts and teaching young ladies to play the spinet and harpsichord. Additionally, he supported himself and his family by serving as clerk to the royal governor, supervisor of the printing of money, and keeper of the Public Gaol. The music book that will be on view includes music that Pelham enjoyed as well as some of his original compositions. It has never been on view before, and although the original book is too fragile to be placed on view, this digital interactive will allow visitors to page through the book and see the music for themselves.

Making Music in Early America is generously funded by an anonymous donor.

Exhibition | Chroma: Ancient Sculpture in Color

Posted in exhibitions by Editor on July 29, 2022

Installation view of Chroma: Ancient Sculpture in Color, on view at The Metropolitan Museum of Art
(Photo by Anna-Marie Kellen for The Met)

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Not explicitly an eighteenth-century exhibition, but central to eighteenth-century conversations. From The Met:

Chroma: Ancient Sculpture in Color
The Metropolitan Museum of Art, New York, 5 July 2022 — 26 March 2023

Ancient Greek and Roman sculpture was once colorful, vibrantly painted and richly adorned with detailed ornamentation. Chroma: Ancient Sculpture in Color reveals the colorful backstory of polychromy—meaning “many colors,” in Greek—and presents new discoveries of surviving ancient color on artworks in The Met’s world-class collection. Exploring the practices and materials used in ancient polychromy, the exhibition highlights cutting-edge scientific methods used to identify ancient color and examines how color helped convey meaning in antiquity, and how ancient polychromy has been viewed and understood in later periods.

The exhibition features a series of reconstructions of ancient sculptures in color by Prof. Dr. V. Brinkmann, Head of the Department of Antiquity at the Liebieghaus Skulpturensammlung, and Dr. U. Koch-Brinkmann, and introduces a new reconstruction of The Met’s Archaic-period Sphinx finial, completed by The Liebieghaus team in collaboration with The Met. Presented alongside original Greek and Roman works representing similar subjects, the reconstructions are the result of a wide array of analytical techniques, including 3D imaging and rigorous art historical research. Polychromy is a significant area of study for The Met, and the Museum has a long history of investigating, preserving, and presenting manifestations of original color on ancient statuary.

Exhibition | Beauty and Ritual: Judaica from The Jewish Museum, NY

Posted in exhibitions by Editor on July 22, 2022

Now on view at the MFAH:

Beauty and Ritual: Judaica from The Jewish Museum, New York
Museum of Fine Arts, Houston, 10 July — 18 September 2022

Examining Jewish ceremonial objects from antiquity to the present, Beauty and Ritual: Judaica from the Jewish Museum, New York marks the first in a series of presentations from the world-renowned collection of the Jewish Museum in New York City. The new, ongoing partnership between the MFAH and the Jewish Museum brings exceptional objects to Houston over a period of years.

Torah Ark, 18th century, pinewood: carved and painted; fabric: embroidered with metallic thread (The Jewish Museum, New York, gift of Arthur Heiman; photograph by John Parnell).

Beauty and Ritual explores the artistic, ritualistic, and cultural significance of more than 140 works. The objects on view derive from Jewish communities throughout the world, spanning Central Asia to North Africa and Western Europe. The exhibition also explores how artists—from different backgrounds—and Jewish communities have creatively adapted traditional forms of Judaica by utilizing a rich array of styles, materials, and techniques, and drawing on broader cultures. The exhibition comprises three thematic galleries: “The Art of the Synagogue: Adorning the Torah,” “A Day of Rest: The Radiance of the Sabbath,” and “Beyond the Synagogue and the Home: The Light of the Hanukkah Menorah.”

In early 2023, the Albert and Ethel Herzstein Gallery for Judaica opens at the MFAH for the ongoing presentation of objects on loan from the Jewish Museum.

From the press release (8 June 2022) from The Jewish Museum:

The Museum of Fine Arts, Houston, and The Jewish Museum, New York today announced a partnership to establish an ongoing presence for Judaica at the MFAH: In July 2022, the MFAH will open the exhibition Beauty and Ritual: Judaica from The Jewish Museum, New York, the first step in the ongoing partnership, which will bring exceptional objects from the Jewish Museum to Houston over a period of years. In early 2023, ongoing presentations centered on objects on loan from the Jewish Museum will begin when The Albert and Ethel Herzstein Gallery for Judaica opens at the MFAH. The Herzstein Gallery is a centerpiece of the World Faiths Initiative at the MFAH, a program of interfaith projects based on the museum’s collections and exhibitions and funded by the Lilly Endowment Inc.

Commented Gary Tinterow, Director, Margaret Alkek Williams Chair, of the MFAH: “The first significant piece of Judaica to enter the Museum’s collection was the Montefiore Mainz Mahzor, in 2018. Calligraphed and illustrated around 1310 in Mainz, some 150 years before Gutenberg would print his Bible in that same medieval town, the Mahzor is one of the earliest surviving illuminated Jewish prayer books from Central Europe. Now, with this significant partnership with The Jewish Museum, New York, and access to their extraordinary collections, we are able to amplify the cultural and artistic history of Judaism, first with this summer’s exhibition, Beauty and Ritual, and, beginning early next year, with presentations in the newly endowed, permanent Judaica gallery. I am enormously grateful to the Jewish Museum, New York, for their partnership, and to The Albert and Ethel Herzstein Foundation, in making possible this permanent presence for Judaica and historic Jewish traditions at the MFAH.”

“After two years of discussion and planning, I am delighted that the Museum of Fine Arts, Houston will be offering its audiences a chance to see highlights from the Jewish Museum’s renowned collection of Judaica,” commented Claudia Gould, the Helen Goldsmith Menschel Director of The Jewish Museum, New York. “There are very few general fine-arts museums in the nation that have a dedicated space for Judaica, and this exciting collaboration will have significant impact on the field. As head of the Jewish Museum in New York, which maintains a unique collection of nearly 30,000 works of art, ceremonial objects, and media including one of the world’s major Judaica collections, I am looking forward to working with the MFAH on this important initiative.”

About Beauty and Ritual: Judaica from The Jewish Museum, New York

Torah Finials, early 18th century, silver: cast repousse, and engraved (The Jewish Museum, New York)

The exhibition Beauty and Ritual: Judaica from The Jewish Museum, New York is the first of a series of presentations at the MFAH from the collection of The Jewish Museum, New York. The exhibition will feature over 140 objects from the Jewish Museum’s world-renowned collection, examining Jewish ceremonial objects from antiquity to the present and exploring their artistic, ritualistic, and cultural significance.

The objects presented derive from Jewish communities throughout the world, ranging from Central Asia to North Africa and Western Europe. The exhibition also explores how artists— from different backgrounds—and Jewish communities have creatively adapted traditional forms of Judaica by utilizing a rich array of styles, materials, and techniques, and drawing on broader cultures. Three thematic galleries explore the ceremonial objects used for Jewish practice in the synagogue, in the home and beyond.

“The Art of the Synagogue: Adorning the Torah” features ceremonial objects used within the synagogue for the purpose of beautifying and protecting the Torah, the central ritual text of Judaism. One Torah ark, intended for housing the Torah, is a monumental 18th-century pinewood enclosure from Bavaria. The ark echoes the colorful, painted decorations of houses of that region, resembling an entrance to a home, and, at 10 feet in height, nearly at the same scale.

“A Day of Rest: The Radiance of the Sabbath” presents Judaica traditionally used for the Sabbath, the weekly day of rest. At the center of the gallery will be a 2012 commission for the Jewish Museum by artist Beth Lipman. In this ethereal work, Beth Lipman drew inspiration from traditional Jewish ceremonial objects in the museum’s collection, including those used for the Sabbath. The piece is a table set with an abundance of glass objects, evocative of the Baroque still life tradition of the vanitas painting in which worldly objects are shown together with symbols of mortality to prompt reflection on the inherent transience of beauty and life. The work conveys the household table as a place where festivity, family, history, and the fragile passing of time converge.

“Beyond the Synagogue and the Home: The Light of the Hanukkah Menorah,” examines the menorah, traditionally the lamp used to celebrate the holiday of Hanukkah, the eight-day festival of lights. This final gallery of the exhibition showcases the menorah’s history and visual presence as a symbol of Jewish culture to the world—from the earliest times with a fired-clay lamp from the third to the fifth century CE, to elaborate 18th- and 19th-century Italian and German metalwork, and to 20th-century depictions by modern artists Marc Chagall and Ben Shahn.

About the World Faiths Initiative at the MFAH

Funded by a grant from the Lilly Endowment Inc., the Museum of Fine Arts, Houston’s World Faiths Initiative seeks to activate themes of religion, faith and spirituality in the Museum’s encyclopedic collections through innovative programming and reimagined displays. The focus on the many expressions of faith in the collections of the MFAH seeks to honor the diverse communities of Houston and inspire connections across cultures and beliefs. The World Faiths Initiative is centered on both The Albert and Ethel Herzstein Gallery for Judaica and cross-cultural installations and public programming exploring faith and spirituality, activities that serve the Museum’s long-term goals of representing world religions within the permanent collection. The project team is being led by Aimée Froom, MFAH curator, Art of the Islamic Worlds, and Caroline Goeser, W.T. and Louise J. Moran Chair of Learning and Interpretation. The initiative is supported with grant funds from the Lilly Endowment Inc.

Display | Exploring Lines: The Drawings of Sir James Thornhill

Posted in exhibitions by Editor on July 21, 2022

James Thornhill, Preliminary Design for the Ceiling of the Upper Hall at Greenwich, ca.1707, pen and ink with wash over pencil, squared in pencil, 34 × 38 cm (London: V&A, E.5199-1919). The drawing depicts Queen Anne at the centre, surrounded by allegorical figures representing Providence,the Virtues, the Arts and Sciences, and other emblems of Empire.

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Now on view at the V&A:

Exploring Lines: The Drawings of Sir James Thornhill
Victoria and Albert Museum, London, 1 July — 13 August 2022

A display illustrating the work of Sir James Thornhill, and his process of developing and drawing intricate designs for his mural paintings.

Sir James Thornhill (1675 or 1676–1734) was one of the most renowned artists of early 18th-century Britain whose mural paintings adorned the walls and ceilings of prestigious buildings throughout the country. Focusing on the role that drawing played in Thornhill’s practice, this display explores how he used sketches and more considered worked up designs to develop his creative ideas.

Exhibition | The Ceramics of Tonalá, Mexico

Posted in exhibitions by Editor on July 17, 2022

Now on view at SAMA:

A Legacy in Clay: The Ceramics of Tonalá, Mexico
San Antonio Museum of Art, 18 March 2022 — 19 March 2023

Earthenware Jar from Tonalá, mid-18th–late-18th century, burnished and painted earthenware, 33 inches tall (San Antonio Museum of Art, 2021.21).

The town of Tonalá, Mexico, has a long history with clay, dating back to the pre-Hispanic period and enduring to the present day. Tonalá’s contemporary dedication to ceramic arts was spurred by early modern Europeans’ obsession with the quality of the region’s clay beginning in the early sixteenth century. This exhibition highlights a selection of SAMA’s collection of Tonalá ceramics, which span from an important recent acquisition of an eighteenth-century monumental Tonalá vessel, to a variety of works from the twentieth century that demonstrate the trajectory of style in Tonala pottery. This focus exhibition offers visitors a glimpse into an important genre of SAMA’s Latin American art collection while demonstrating the breadth in styles achieved by some of Tonalá’s expert ceramicists.

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.

Exhibition | Fantastically French! Design and Architecture in Prints

Posted in exhibitions by Editor on July 11, 2022

Pierre Moreau, Mausoleum, 1730, etching, approximately 5 × 8 inches
(Blanton Museum of Art, The University of Texas at Austin)

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Now on view at the Blanton Museum of Art:

Fantastically French! Design and Architecture in 16th- to 18th-Century Prints
Blanton Museum of Art, The University of Texas at Austin, 5 March — 14 August 2022

From arabesques to grotesques and from sphinxes to snails, French printmakers combined ancient decorative motifs with newly invented ones to create designs for everything from jewelry to architectural façades. Beginning in the mid-sixteenth century with ornamentation for the royal hunting lodge of Fontainebleau, through garden designs at the palace of Versailles, to patterns for eighteenth-century home furnishings, prints were important sites of invention and served as vehicles for the proliferation of decorative motifs across a variety of media. Drawing primarily from the Blanton’s extensive holdings of French prints, this exhibition invites visitors to look closely at exquisite details, marvel at fantastic forms, and take delight in ornate embellishments that celebrate the creativity of artistic imagination across three centuries.

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

Online | Hogarth’s Topographies: ‘The Five-Day Peregrination’

Posted in exhibitions, lectures (to attend), online learning by Editor on July 7, 2022

Hogarth’s Tour / Frontispiece, An Account of What Seemed Most Remarkable in the Five Days Peregrination, 27 November 1781, etching and aquatint in sepia ink with hand coloring on laid paper; sheet 23.6 × 34.5 cm (Lewis Walpole Library H67).

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From The Lewis Walpole Library, Yale Library:

Jacqueline Riding and Caroline Patey | ‘The Five-Day Peregrination’: A Dizzy Journey through the Topographical History of Kent
William Hogarth’s Topographies: A Series of Conversations
Online, The Lewis Walpole Library, Wednesday, 20 July 2022, noon (EDT)

Topography is central to William Hogarth’s canonical progress series in which London settings play a decisive narrative role. Lesser-known works by the artist, however, also engage with topographical representation. Pierre Von-Ow’s online exhibition William Hogarth’s Topographies considers the artist’s illustrations of national and colonized geographies beyond the metropole. The county of Kent is the site of a tour undertaken in May 1732 by Hogarth and a group of friends who collectively memorialized the adventure as The Five-Day Peregrination. The exhibition presents the peregrination as both a jesting imitation of the Grand Tour of the landscapes and monuments of Europe and as a satire of the British antiquarians who, since at least the sixteenth century, had minutely inventoried the country’s history and antiquities as a means of reclaiming a glorious past.

Jacqueline Riding and Caroline Patey will discuss the textual and visual representations recorded by Hogarth and his fellow travelers of their tour of Kent, first in manuscript (now in the British Museum) and later published as An Account of What Seemed Most Remarkable in the Five Days Peregrination (1782, etc.). The event seeks to explore the connections between this little-known project and the broader literature of actual and invented travels, as well as the history of Kent and its ties to the global expansion of the British Empire. Dr. Riding has structured her recent biography Hogarth: Life in Progress (2021) with eight interludes that address different aspects of The Peregrination. Dr. Patey is currently working on a translation of The Peregrination into Italian. Riding and Patey will share their thoughts about why the tour of Hogarth and his friends continues to demand attention bringing to this program insights from their recent and current work.

This program is organized by The Lewis Walpole Library, Yale University, in conjunction with the online exhibition William Hogarth’s Topographies curated by Pierre Von-Ow, PhD candidate in Yale’s Department of The History of Art.

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Professor Caroline Patey has studied English and Comparative literature in Paris (Paris III), Dublin UCD, and the Università degli Studi, Milan, where she was Chair and Professor of English Literature until 2018. Her interests and fields of research include Renaissance literature, late Victorian culture and Modernism with a special focus on intermediality, the intersection between art, museums and literature, and the cross-border circulation of cultures and aesthetic forms. She has edited and co-edited the outcome of various collective explorations of these topics and has published numerous book-length studies on subjects as diverse as Proust and Joyce (1991), Mannerism (1996), Shakespeare and history (1998), and Henry James (2004). Together with Cynthia Roman (Yale) and Georges Letissier (Nantes), she has recently co-edited the two volumes of Enduring Presence: William Hogarth’s Afterlives in British and European Culture (2021). Since her retirement in late 2018, Caroline has taught specialist seminars in Italy and Germany (Bard College, Berlin, 2020). She co-directs a collection of critical essays on British and Anglophone literature, Prismi, Classici nel tempo, Mimesis, Milano, and sits on the board of the journal of comparative literature, Letteratura e Letterature.

Dr Jacqueline Riding specializes in British history and art of the long eighteenth century. She is the author of Jacobites: A New History of the ’45 Rebellion (2016), Peterloo: The Story of the Manchester Massacre (2018), and Hogarth: Life in Progress (2021), which has been awarded the Sunday Times Art Book of the Year 2021 and a Times and Sunday Times Paperback of 2022. Former curator of the Palace of Westminster and director of the Handel House Museum, London, she is a historical adviser on feature films including Mike Leigh’s Mr. Turner (2014) and Peterloo (2018), a consultant for museums and historic buildings including Tate Britain and Historic Royal Palaces, and Books Editor for The Art Newspaper. Jacqueline is a fellow of the Royal Historical Society, the Society of Antiquaries of Scotland, the Paul Mellon Centre for Studies in British Art, the Department of the History of Art, University of York, and trustee of the Jacobite Studies Trust and [JMW] Turner’s House, London.

 

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