Exibition | Allan Ramsay: Portraits of the Enlightenment
From The Hunterian:
Allan Ramsay: Portraits of the Enlightenment
The Hunterian Art Gallery, Glasgow, 13 September 2013 — 5 January 2014
Allan Ramsay, Lady Anne Campbell, Countess of Strafford, 1743 (Glasgow: The Hunterian)
In 2013 The Hunterian will stage a major new exhibition dedicated to one of Britain’s most accomplished 18th-century painters. Allan Ramsay (1713-1784) is best known as a portrait painter whose elegant style set him apart from other portraitists of the time. Born in Edinburgh, his career took him from a small Scottish clientele to the Hanoverian court of King George III. Away from his studio, Ramsay was in close contact with a number of influential figures, and his published writing includes works on taste, politics and archaeology. The exhibition centres on a selection of portraits from across Ramsay’s thirty years as a painter and also features drawings, watercolours, published books, pamphlets, letters and other materials which demonstrate Ramsay’s fascinating place in the intellectual and cultural life of Edinburgh, London, Paris and Rome in the mid 18th century. The exhibition also includes key loans from UK public and private collections and new research, examining the intellectual context in which Ramsay painted a number of his most important portraits, including that of Hunterian founder Dr William Hunter.
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From ArtBooks.com:
Mungo Campbell, ed., Allan Ramsay: Portraits of the Enlightenment (New York: Prestel, 2013), 200 pages, ISBN: 978-3791348780, $60.
Allan Ramsay’s accomplished canvases and refined drawings offer us some of the defining portraits of the Enlightenment. He was as well equipped to offer a deep sense of engagement with his Enlightenment sitters through his intellectual and cultural upbringing as he was trained to create elegantly constructed paintings through his extended education as a painter in Italy. Establishing himself in London and Edinburgh, Ramsay was admired for his understanding of contemporary political, cultural, and intellectual issues, as well as for his portraits of key protagonists in these debates. This beautiful volume brings together Ramsay’s most celebrated sitters, such as Rousseau, Hume, and William Hunter, along with numerous drawings and prints to consider his critical role in the British Enlightenment. Many of the artist’s rarely seen portraits of women are included. Alongside exquisite reproductions, the volume presents fascinating new research exploring the unique sensitivity of Ramsay’s
painting, the development of his technique, and
familial influences on his work.
Symposium | The Botany of Empire in the Long Eighteenth Century
This fall at Dumbarton Oaks (as noted by Courtney Barnes at Style Court) . . .
The Botany of Empire in the Long Eighteenth Century
Dumbarton Oaks Research Library and Collection, Washington, D.C., 4–5 October 2013
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This two-day symposium will bring together an international body of scholars working on botanical investigations and publications within the context of imperial expansion in the long eighteenth century.
The period saw widespread exploration, a tremendous increase in the traffic in botanical specimens, significant taxonomic innovations, and horticultural experimentation. We aim to revisit these developments from a comparative perspective that will include Europe, the Ottoman Empire, Africa, Asia, and the Americas.
Main themes for discussion are global networks of plant discovery and transfer; the quest for medicinal plants and global crops such as ginseng, tea and opium; the economies of gift, trade, patronage, and scientific prestige in which plants circulated; imperial aspirations or influences as reflected in garden design; and visual strategies and epistemologies. Individual papers will explore the contributions of naturalists such as William Bartram (North America), Paul-Émile Botta (Levant), and François Le Vaillant (South Africa).
The symposium is timed to coincide with the fiftieth anniversary of the Rare Book Room at Dumbarton Oaks, and will feature an exhibit of botanical works from our collections [with an online sample already available]. Registration for the symposium is now open.
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From the program:
Notice sur un Voyage dans L’Arabie Heureuse: Politics and Scientific Authority in the Work of Paul-Emile Botta
Sahar Bazzaz, College of the Holy Cross
Thomas McDonnell’s Opium: Circulating Plants, Patronage and Power in Britain, China and New Zealand, 1830s-1850s
James Beattie, University of Waikato
Botanical Conquistadors: Plants and Empire in the Hispanic Enlightenment
Daniela Bleichmar, University of Southern California
Bricolage of Flowers and Gardens: Agents of Early Modernization in Ottoman Istanbul
Deniz Çalış-Kural, Istanbul Bilgi University
On Diplomacy and the Botanical Gift: France and Mysore in 1788
Sarah Easterby-Smith, University of St. Andrews
François Le Vaillant: Accidental Botanist
Ian Glenn, University of Cape Town
The Geography of Ginseng and the Strange Alchemy of Needs
Shigehisa Kuriyama, Harvard University
Humboldt’s Gifts and a Bountiful Harvest from the Tropical Lowlands of Western South America
Colin McEwan, Dumbarton Oaks
William Bartram’s Drawing of a New Species of ‘Arethusa’ (1796): The Portrait of a Life
Amy Meyers, Yale Center for British Art
Emblems of the Creation and Destruction of All Things: The Lives and Deaths of Robert Thornton’s Medical Plants
Miranda Mollendorf, Harvard University
Making ‘Mongolian’ Nature: Medicinal Plants and Qing Empire in the Long Eighteenth Century
Carla Nappi, University of British Columbia
Ornamental Exotica: Transplanting the Aesthetics of Tea Consumption
Romita Ray, Syracuse University
Visions of Empire: Eighteenth-Century Western Accounts of Chinese Gardens
Bianca Rinaldi, University of Camerino
Echoes of Empire: Redefining the Botanical Garden in Eighteenth-Century Tuscany
Anatole Tchikine, Dumbarton Oaks
New Strategies of Vision in Botanical Illustration and Botanical Art in the Eighteenth Century
Lucia Tongiorgi, University of Pisa
At Auction | Liberty or Death: Relics from the American Revolution
While I generally refrain from editorializing, it seems to me that there’s something dreadful linguistically and maybe conceptually about the phrase “selling exhibition.” On the other hand, the objects included in the sale and the exhibition look interesting enough, and this is the first I’ve heard of the Museum of the American Revolution (further proof of just how much slips past me!). Robert A. M. Stern’s design plans were unveiled last June, and the museum plans to open in 2016. -CH
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From a Sotheby’s press release (6 June 2013) . . .
Liberty or Death: Relics from the American Revolution
Sotheby’s, New York, 1–28 June 2013
Robert A. M. Stern, Architectural Rendering for the Museum of the American Revolution in Philadelphia
Sotheby’s presents Liberty or Death: Relics from the American Revolution, an exciting cross-platform initiative in collaboration with Philadelphia’s Museum of the American Revolution. The selling exhibition features items for sale by Sotheby’s as well as objects on loan from the museum’s extraordinary collection, creating a fresh, multi-dimensional dialogue on America’s struggle for independence. The exhibition will be open to the public through 28 June 2013.
The Museum of the American Revolution will be a national institution that will chronicle the full sweep of the American Revolution – the deadly struggle between British and American forces as well as the growth of the idea of independence. Located in Philadelphia, Pennsylvania, the museum will be built steps away from where the Declaration of Independence was drafted, debated and adopted. Funds are currently being raised to build the institution. “We are delighted to collaborate with Sotheby’s to display these great treasures from our collection. Through this exhibition, people now have a rare opportunity to view these relics as they await display in the new Museum of the American Revolution,” said Michael C. Quinn, President and CEO of the Museum of the American Revolution.
Commander in Chief’s Standard, ca. 1777-83 (Philadelphia: Museum of the American Revolution)
The distinctive thirteen-star blue silk standard circa 1777–83 that marked the presence of the Commander-in-chief on the battlefield and in headquarters is on loan from the museum and currently on view. This rectangular standard has been known for more than a century as George Washington’s Headquarters flag. It descended in the family of Washington’s sister, Betty Washington Lewis, whose son George served as an officer in the Commander-in-Chief’s guard. Also on loan from the museum are ten original silver camp cups from George Washington’s military field equipment with commemorative inscriptions. The original set of twelve cups, used to serve wine to aides and guests at the General’s table, were made in the shop of Philadelphia silversmith Edmund Milne in August 1777.
Sotheby’s selling exhibition will include a rare contemporary printing of the Declaration of Independence, the official printing for Massachusetts Bay, and a fine and rare engraved powder horn from March 22, 1770, owned by Jonathan Leonard Jr. (February 17, 1763 – January 25, 1849), a soldier in the American Revolution. The unique phrase, “Britain to Washington Shall Yield, Freedom Shall Triumph in the Field,” is engraved on the horn, paraphrased from the last verse of the highly popular song of the time, Great News from the Jerseys. Also included in the sale is the William Schuyler American horseman saber with figured maple grip, eagle pommel and original leather scabbard circa 1778–90. Opening hours are Monday – Saturday 10 am – 5pm and Sunday 1 pm – 5pm through 28 June 2013.
The Museum of the American Revolution will tell the complete story of the American Revolution. To be built in historic Philadelphia, just steps from Independence Hall and the Liberty Bell, the museum will feature a distinguished collection of objects, artifacts, artwork, and manuscripts from the period of the American Revolution that will bring to life the original “greatest generation” and engage people in the history and continuing relevance of the American Revolution.
Exhibition | Northern Life and Landscape: Julius Caesar Ibbetson
From Temple Newsam House:
Northern Life and Landscape: Julius Caesar Ibbetson (1759–1817)
Temple Newsam House, Leeds, 12 February – 10 November 2013
Julius Caesar Ibbetson, A Phaeton in a Thunderstorm, 1798 (Leeds Museums and Art Galleries, Temple Newsam House)
This new exhibition looks at works of art made by the Leeds artist Julius Caesar Ibbetson (1759–1817) who painted life and landscape as he saw it – with little interpretation. Today Ibbetson is little celebrated but he was one of the City’s most significant eighteenth-century artists, who became well known for his pictures of rustic scenes, cattle and rural scenery.
As an artist, Ibbetson held a great passion for nature and an intrigue for human oddity, preferring to create factual observations of rural life as he experienced it. In this endeavour his contribution to British history is fascinating as, when we examine his artworks today, they expose a rare view of rural life and begin to reveal some of the realities of living and working in the north of England during the late 1700s. The exhibition brings together a loan collection of Ibbetson drawings recording aspects of his family life and a recent donation of artworks from the Estate of Helen Mackaness to Leeds Museums and Galleries.
More examples of the artist’s work are available at BBC Your Paintings»
Exhibitions | Old Masters, Newly Acquired
Press release (2 May 2013) from The Morgan:
Old Masters, Newly Acquired
The Morgan Library & Museum, New York, 31 May — 11 August 2013
Joseph Ducreux (1735–1802), Portrait of a Gentleman, ca. 1802; black, brown, red, and white chalk (New York: The Morgan Library & Museum, Estate of Brooke Astor)
The Morgan Library & Museum’s collection of drawings from the Renaissance to the nineteenth century has grown dramatically over the last few years. During this period, important gifts, purchases, and bequests have both augmented and transformed the museum’s holdings. More than one hundred of these new additions are being featured in an exhibition titled Old Masters, Newly Acquired. On view through August 11, the show presents major gifts from such notable collectors as former Morgan Director Charles Ryskamp, Trustees Eugene V. Thaw and Brooke Astor, and long-standing supporter Joseph McCrindle. Also exhibited are other works that have entered the collection as gifts and bequests, as well as an important group of recent purchases, including a selection of those made on the Sunny Crawford von Bülow Fund.
Particularly significant is a selection of late-nineteenth-century French drawings by such artists as Manet, Cézanne, Vuillard, and Redon, which greatly strengthen the Morgan’s holdings in Impressionist, Post-Impressionist, and Symbolist works. More than forty Danish drawings form another important group, including sheets by several Golden Age masters, among them C.W. Eckersberg and Johan Lundbye. Outstanding watercolors by British artists, notably John Martin and Samuel Palmer, reveal their mastery of the medium and virtuosity of technique. Highlights among the purchases on view include a delicate sheet of studies by Perino del Vaga, a beautiful pastel by Benedetto Luti, and a dynamic compositional study by Charles-Joseph Natoire. (more…)
Exhibition | East of India: Forgotten Trade with Australia
From the Australian National Maritime Museum:
East of India: Forgotten Trade with Australia
Australian National Maritime Museum, Sydney, 1 June — 18 August 2013
East of India tracks Australia’s colonial links with India, the power and monopoly of the English East India Company, and its inevitable decline.
It’s a tale of ships and shipwrecks, rice and rum, officers and officials, sailors, soldiers and servants – taking us from the old allure of Asia to modern-day ties between India and Australia.
The exhibition includes over 300 objects including coins, artwork, sculpture, maps, weaponry, ceramics, textiles and clothing from more than 15 local and international lending institutions will feature in the exhibition. Rarely seen artefacts include the bejewelled sword that belonged to the Indian leader Tipu Sultan, killed by East India Company forces at the battle of Seringapatam in 1799, and Indian cargo from the ship Sydney Cove wrecked en route to Australia in 1797.
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From the posting, “Bombay and Calcutta in Sydney” at The British Library’s Asian and African Studies Blog (22 May 2013) . . .
George Lambert and Samuel Scott, Fort William, Calcutta, ca.1731 (London: British Library, Reference: F45)
In 1732 the East India Company commissioned six seascapes of their main trading posts, which were displayed in the Director’s Courtroom of East India House in London. The resulting six paintings showed the East India Company’s trading posts at Bombay, Calcutta, Madras, Tellicherry, the Cape of Good Hope and St Helena. They conjured up the spread of imperial power inside a single room in the City of London. All six of the paintings were by George Lambert (1710-1765), and Samuel Scott (1701/2-1772). . .
281 years after they were commissioned, Lambert and Scott’s seascapes of Bombay and Calcutta have been sent to Australia’s National Maritime Museum in Sydney, where they are being exhibited in East of India: Forgotten Trade with Australia. Their inclusion in this international exhibition is incredibly significant. They were painted to symbolise the world beyond London, and centuries later, they have been sent from London to another part of the world. . .
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The Charlotte Medal, silver, 1788 (Australian National Maritime Museum, photograph by Andrew Frolows, ANMM)
The exhibition blog is available here»
More images are available here»
Additional information is available from an article in the Indian Herald here»
Exhibition | Robert Polidori, Versailles
Robert Polidori’s Versailles series is currently on view at Galerie de Bellefeuille in Montréal with some images being exhibited for the first time. In 2008, the Edwynn Houk Gallery in New York mounted a similar show, and Polidori’s three-volume Parcours Muséologique Revisité appeared from Steidl in 2009.
Robert Polidori, Versailles
Galerie de Bellefeuille, Montréal, 1-25 June 2013
Robert Polidori, Marie Leszczinska en Junon,
MV 6595, by Guillaume Coustou, ca. 1731,
Grand Degré, Escalier Gabriel, 2007.
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Robert Polidori was born in Montréal, Canada, in 1951. At the age of ten he moved to the United States, where he has since remained. From 1970 to 1972 Polidori worked as an assistant to the filmmaker Jonas Mekas at the Anthology Film Archives producing a number of avant-garde films in the early 1970s. The time spent working under Mekas heavily influenced Polidori, helping to shape his unique approach to photography. In 1980 he received an M.A from the State University of New York in Buffalo, where he turned his attention to still photography.
Polidori’s career as a photographer began in earnest in the mid 1980s when he was given permission to document the historic restoration of the Château of Versailles. Since his first visit to Versailles Polidori has returned on a number of occasions, continuing a love affair that endures to this day. Working in opposition to Cartier-Bresson’s notion of the “decisive-moment,” that singular moment in which to capture a truth, Polidori prefers instead to work with the qualities of beauty and stillness of a space effected by its history and its present. As such, his conception of rooms as metaphors and vessels of memory is evident. He produces these interior shots by means of a single long exposure in natural lighting. His tonally rich and seductive photographs are the product of a view camera, long hours waiting for the right light, and careful contemplation of the camera angle. Polidori uses large-format sheet film, which he believes produces superior images to digital photography. While pursuing his career, Polidori also worked as a staff photographer with The New Yorker magazine from 1998 to 2007. (more…)
Exhibitions | Edward Harley: The Great Collector
Press release from The Harley Gallery:
Edward Harley: The Great Collector
The Harley Gallery, Welbeck, Nottinghamshire, 25 May 2013 — May 2014
From opulence and obsession to debt and despair, the exhibition Edward Harley: The Great Collector follows the fortunes of the 2nd Earl of Oxford (1689-1741). Showing at The Harley Gallery from 25 May 2013, it explores Edward Harley’s background, family and marriage through his spectacular collections of fine and decorative art and books.
Lord Edward Harley was a dedicated but extravagant collector. He bought at inflated prices when the desire to possess overrode any sense of the value of the piece or the extent of his resources. In 1738 he found himself in great debt and had to sell his family home and his collections.
The son of Robert Harley, one of the most powerful politicians in the country, Edward Harley married Henrietta Cavendish-Holles – the wealthiest heiress in Britain. Harley filled his family home at Wimpole Hall with a hubbub of activity – writers, poets, artists, bibliophiles would be regular visitors. He was a dedicated collector; his collections were extensive and extravagant as he passionately sourced the rarest and most beautiful things. Harley was surrounded by the finest thinkers and the finest things.
Besides magnificent silver, curios, paintings, and other works of art, he collected English miniature portraits dating from the early 1500s to his own time. These likenesses were intended as precious, jewel-like treasures to be kept in cabinets, brought out to be admired, and then returned to safety. They could be love tokens and gifts, souvenirs between friends and family members. Being so small, they were easily portable. Some were to be designed to be worn by a loved one as a pendant or bracelet. Many of Harley’s miniatures came from branches of his and his wife’s families; others were purchased because of the distinction of the artist or the importance of the sitter. They are the work of the greatest masters in the medium.
Harley rapidly added to the library started by his father, and his collection included pivotal works such as Shakespeare’s Second Folio and Jonathan Swift’s Gulliver’s Travels. Through Harley’s dedication, the library at Wimpole Hall grew at an astonishing rate, with some 12,000 books in the collection by September 1717. By the beginning of the eighteenth century, books and pictures were needing special accommodation in more and more houses. They were to become an essential part of country-house life. It was not until the second half of the seventeenth century that rooms called libraries became more common in country houses. Informed buying of art and literature was virtually non-existent until Charles I and other members of the court circle built up their collections in the 1620s and 30s. It required leisure, knowledge and money and house design grew to accommodate the collections with libraries, picture galleries and cabinet rooms. By the end of his life in 1741 Edward Harley had amassed the largest private library in Britain, but his passion for collecting ranged far beyond books and manuscripts. Edward Harley’s library contained 50,000 printed books, 7,639 manuscripts, 14,236 rolls and legal documents, 350,000 pamphlets, 41,000 prints: “the most choice and magnificent that were ever collected” (Collins).
His wealth gradually dwindled, yet Harley continued to add to his collections, often driving up the price of objects in his lust for ownership. In this obsessive collecting, Harley bankrupted himself and spent much of his wife’s fortune, eventually selling his family home and his collections to pay his debts. The great library, started by his father and described by Dr Johnson as excelling any offered for sale, was dispersed in 1742, but the celebrated Harleian collection of manuscripts was one of the founding collections of the British Library. Harley was also a patron of contemporary writers, including Alexander Pope and Jonathon Swift and of artists and architects.
The Harley Gallery is situated in the countryside of Welbeck, a ducal estate which has been home to the Cavendish-Bentinck family for more than 400 years. Edward Harley, 2nd Earl of Oxford (1689-1741) married into this family around 1713, when he wed Lady Henrietta Cavendish–Holles, uniting one of the most politically powerful families in the country with one of the richest. Edward Harley: The Great Collector will be accompanied by a full colour publication written by Curator Derek Adlam.
The Harley Gallery has recently announced plans to build a new Gallery which will show objects from The Portland Collections, the fine and decorative art collected by this family over the centuries. These collections include many objects purchased by Edward Harley, 2nd Earl of Oxford.
Exhibition | Madame Elisabeth: The Tragic Fate of a Princess
From the exhibition website:
Madame Elisabeth (1764-1794): Une Princesse au Destin Tragique
Domaine de Madame Elisabeth, Versailles, 27 April — 21 July 2013
Curated by Juliette Trey
Who was the real Madame Elisabeth, the princess who never married and lived at Versailles with her brother Louis XVI and Marie-Antoinette? When she turned nineteen, the King gave her the estate of Montreuil, a country house very close to the Palace of Versailles. Madame Elisabeth spent her days there in simple pursuits – music, science, painting, embroidery and games – surrounded by her friends. In 1789, when she was twenty-five years old, the age of majority for unmarried women, she was finally entitled to sleep at Montreuil. However, the events of the French Revolution dictated otherwise.
This first major exhibition devoted to Madame Elisabeth is located in two areas of the estate. In the Residence, the furniture and objects with which the Princess surrounded herself have been assembled for the first time, conjuring up the lifestyle at Montreuil. The Orangery traces the life of the princess and the history of the estate.
130 works and objects have been assembled, including paintings, drawings, furniture, objets d’art, costumes, jewellery, and archive plans and documents. They come from the Palace of Versailles and several public and private collections and some exhibits have never previously been displayed. The exhibition space design aims to recreate the intimate atmosphere of Montreuil during the era of Madame Elisabeth. A multi-sensory tour allows visitors to experience this directly via perfumes, music, handling materials, and listening to contemporary accounts.
This tribute to the young princess also offers an opportunity to learn about the art of 18th-century gardens. The grounds are laid out in the English landscape garden style and have retained their original feel, with a grotto and groves of trees. Beds of aromatic and medicinal plants have been recreated in front of the Orangery, conjuring up the figure of Lemonnier, Madame Elisabeth’s physician, who cultivated plants on the estate. The walk between the two exhibition venues is enlivened with topiary representing animals.
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From the Versailles bookstore:
Juliette Trey, ed., Madame Elisabeth (1764-1794): Une Princesse au Destin Tragique (Milan: Silvana Editoriale, 2013), 192 pages, 28€.
Although she was an obscure princess, Madame Élisabeth had an exceptional destiny. She never married and stayed with her elder brother, Louis XVI, who made her a present of the Montreuil estate on her 19th birthday: a country house only a few hundred metres from the Palace of Versailles.
This matchless horsewoman spent her days pleasantly there, surrounded by her friends who accompanied her on hunting outings or fishing trips. Passionately interested in mathematics and geography, and gifted in drawing, she never really interrupted her studies. Deeply pious, learned and sensible, Madame Élisabeth was also funny, cheerful and incredibly generous to everyone, heaping gifts on her friends and winning the affection of the inhabitants of Montreuil by her many acts of charity.
She showed great courage during the Revolution, refusing to go into exile in order to stay with her family. Imprisoned in the Temple with the royal family, she was guillotined just after reaching the age of thirty. A cult grew up around the memory of Madame Élisabeth which intensified after the Restoration and the return to power of her brothers from 1814 on.
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Exhibition | Living in Style: Five Centuries of Interior Design
From The Met:
Living in Style: Five Centuries of Interior Design from the Collection of Drawings and Prints
The Metropolitan Museum of Art, New York, 18 June – 8 September 2013
Jean Démosthène Dugourc, Wall Elevation of a Salon, ca. 1780. Pen and ink and watercolor; sheet: 9 x 6 3/4 inches (New York: Metropolitan Museum of Art)
Interior design is often thought of as a modern, post-industrial concept, but sculpting our domestic environment became an art form in its own right much earlier. Renowned and highly paid artists from a wide array of disciplines were often involved in the creation and manipulation of living spaces that would meet or even exceed the wishes of their patrons.
Made singlehandedly or by an interpreter in various stages of the manufacturing process, many features of artists’ designs have been captured on paper. This exhibition combines drawings, prints, and objects from all over Europe and the United States as they were collected by the Metropolitan Museum over a period of more than a hundred years. It highlights the ingenuity, beauty, and wit often found in designs for the decorative arts, and follows the dynamic development of shapes, ornaments, and materials alternately governed by issues of comfort, theory, and aesthetics.
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