Exhibition | Goya and the Age of Revolution
Now on view at the Hispanic Society Museum & Library:
Goya and the Age of Revolution
Hispanic Society Museum & Library, New York, 11 December 2025 — 28 June 2026
Francisco Goya, Portrait of Manuel Lapeña, Marquis of Bondad Real, detail, 1799, oil on canvas, 225 × 140 cm (Hispanic Society of America).
Beginning in the late 18th century, three interconnected revolutions transformed the world. Supported by Spain and France, the American Revolution (1775–1783), would inspire the French Revolution (1787–1799), which led to the rise of Napoleon, who invaded Spain in 1808, sparking the Spanish War of Independence, known as the Peninsular War (1808–1814). All three conflicts impacted the life and work of Francisco de Goya y Lucientes (1746–1828). The artist painted the portraits of at least two protagonists of the American Revolution: Admiral Jose de Mazarredo (ca. 1785, private collection) and General Francisco de Saavedra (1798, The Courtauld, London). Caught in the middle of the Peninsular War, Goya captured acts of heroism and atrocity in a series of 82 prints executed between 1810 and 1820 known as the Disasters of War. From the promise of egalitarianism to the horrors of battle, the story of revolution animates some of Goya’s most powerful works.
To mark the 250th anniversary of the U.S. Declaration of Independence, the present installation displays a selection of works by Francisco de Goya and his circle broaching the subject of war, revolution, and independence. This initiative is supported by the Goya Research Center. Launched in 2024 by the Hispanic Society Museum & Library, the Goya Research Center aims to advance on the study of Francisco de Goya and bring him to new audiences through public programs, exhibitions, and publications.
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Note (added 2 February 2026)— When the show opened in December, the Museum’s Instagram page included a powerful detail of Eugenio Velázquez’s Victims of War, painted in the 1860s. In these days of war and rumors of war, it all feels all too poignant. –CH
Exhibition | Stubbs: Portrait of a Horse
George Stubbs, Scrub, a Bay Horse Belonging to the Marquess of Rockingham, ca. 1762 (Private Collection).
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On view this spring at the National Gallery:
Stubbs: Portrait of a Horse
National Gallery, London, 12 March — 31 May 2026
Step into the world of George Stubbs, the visionary British painter, and marvel at his monumental portrait of a rearing racehorse, Scrub.
In the 1750s, Stubbs spent eighteen months in a remote barn in Horkstow, Lincolnshire. Hidden away, he devoted his time to studying and drawing the anatomy of horses. What resulted was the most thorough study on the subject for almost a hundred years. Incredibly, Stubbs’s pictures of horses are still some of the most accurate ever painted, all while capturing their unique characters.
In this exhibition, viewers will meet one of these horses, Scrub, painted around 1762. Scrub rears in a landscape backdrop—notably without a rider. In a nearby room hangs another monumental horse painting by Stubbs, a depiction of Scrub’s now famous contemporary, Whistlejacket. Painted around the same time, these would be the first life-size portraits to depict horses without a rider in British history. The two paintings changed the spirit of equine art forever. Stubbs: Portrait of a Horse focuses on the creation of this portrait of Scrub, while presenting other paintings and drawings by the artist. Join us for a closer look at this groundbreaking work.
Journal18, Fall 2025 — Clean
The latest issue of J18:
Journal18, Issue #20 (Fall 2025) — Clean
Issue edited by Maarten Delbeke, Noémie Etienne, and Nikos Magouliotis
Cleaning is never a neutral act. In the eighteenth century, acts of cleaning became a way to decide what counted as disorder, to separate asserted purity from designated pollution, and to display authority over matter, space, and people. From the forecourt of Paris’s Notre-Dame to the Ganges river in Varanasi to Scotland’s filthy privies, practices of cleaning have shaped political order. Racial issues, colonization, and the management of public space revolved around the idea and implementation of cleaning, which could also involve the deliberate relocation or erasure of human beings.
a r t i c l e s
Economies of Waste: Revolutionary Administration and the Afterlives of the Kings of Notre-Dame — Demetra Vogiatzaki
‘Beneath the Waters of a Universal Ocean’: Containing, Contaminating, and Cleaning the Ganges River in Varanasi — Ushma Thakrar
Piss, Poison, and other Paths between Scotland and England in Caricature since 1745 — Laura Golobish
c o n v e r s a t i o n p i e c e
The Grammar of Cleaning: A Conversation — Maarten Delbeke, Noémie Etienne, and Nikos Magouliotis
All articles are available for free here, along with recent notes & queries:
r e c e n t n o t e s a n d q u e r i e s
Marie Antoinette Style: An Exhibition Catalogue Review — Madeleine Luckel
Room for the Lost Paradise: A Symposium — Jason M. Kelly
Reflections on Mai, Joshua Reynolds, and Eighteenth-Century Art — A Roundtable
Colonial Crossings: A Review — Juan Manuel Ramírez Velázquez
Conference | Kunst um 1800
In connection with the exhibition Art around 1800: An Exhibition about Exhibitions in Hamburg, as noted at ArtHist.net:
Kunst um 1800
Hamburger Kunsthalle, 29–30 January 2026
François Gérard, Ossian am Ufer der Lora beschwört die Geister beim Klang der Harfeum, 1810, oil on canvas, 211 × 221 cm (Hamburger Kunsthalle; photo by Elke Walford).
Der Workshop findet im Rahmen der Ausstellung Kunst um 1800. Eine Ausstellung über Ausstellungen statt, die den gleichnamigen Zyklus der Hamburger Kunsthalle in den Mittelpunkt stellt: Von 1974 bis 1981 widmete sich die legendäre Ausstellungsreihe in neun Teilen der Wirkmacht von Kunstwerken im „Zeitalter der Revolutionen“ und prägte Debatten über die gesellschaftliche Relevanz von Kunst, die bis heute nachwirken. Die Ausstellungen revidierten Narrative der europäischen Kunstgeschichte, indem sie Themen und Künstler ins Zentrum stellten, die mit den Konventionen ihrer Zeit brachen: Ossian, Caspar David Friedrich, Johann Heinrich Füssli, William Blake, Johan Tobias Sergel, William Turner, Philipp Otto Runge, John Flaxman und Francisco Goya. Die gegenwärtige Ausstellung Kunst um 1800 kommentiert und aktualisiert aus einer heutigen Perspektive die historischen Ordnungen und Präsentationen der Dinge, die unter der Regie des damaligen Direktors Werner Hofmann entstanden. Dazu werden über 50 Gemälde, Bücher und graphische Arbeiten der Sammlung der Kunsthalle aus der Zeit um 1800 in ein Zusammenspiel mit über 70 ausgewählten Leihgaben und Werken zeitgenössischer Künstler:innen gebracht. Das komplexe Gefüge im Kuppelsaal versteht sich als eine kritische Edition der Ausstellungen der 1970er Jahren und unternimmt zugleich einen Remix der künstlerischen Formen und Formate um 1800.
Bis zum 29. März 2026 entfaltet Kunst um 1800 in zehn Stationen mit damals gezeigten Werken ein Panorama der Epoche und widmet sich Themen wie Aufklärung, Gewalt, Träumen, politischer Landschaft, Industrialisierung sowie Revolution und Freiheit – stets aus heutiger Perspektive. Diesen Fragen geht auch der interdisziplinäre Workshop nach. In dieser Veranstaltung setzen sich Künstler- und Wissenschaftler:innen mit dem historischen Zyklus, der Musik um 1800, forschendem Kuratieren und historischen Leerstellen auseinander. So werden punktuell Aspekte betont, die im Zyklus der 1970er Jahre fehlten oder nur ansatzweise zum Vorschein kamen, jedoch für die Zeit um 1800 relevant sind: Der Kampf um Frauenrechte, die jüdische Aufklärung, Kolonialismus, Sklaverei, Abolitionismus und die Haitianische Revolution.
Eine Veranstaltung von Petra Lange-Berndt, Kunstgeschichtliches Seminar der Universität Hamburg, und Dietmar Rübel, Akademie der Bildenden Künste München, in Zusammenarbeit mit und der Hochschule für Musik und Theater sowie der Hamburger Kunsthalle. Der Eintritt zum Liederabend und zur Tagung ist frei.
Mit freundlicher Unterstützung der Hamburgischen Wissenschaftlichen Stiftung, der Franz Wirth-Gedächtnis-Stiftung und der Liebelt-Stiftung, Hamburg.
d o n n e r s t a g
19.00 Begrüßung — Alexander Klar (Direktor der Hamburger Kunsthalle)
Ossian und die Musik um 1800
Lieder u. a. von Franz Schubert, Joseph Haydn und Nan-Chang Chien nach Texten von u. a. James Macpherson, Matthäus von Collin, Anne Hunter, Johann Wolfgang Goethe, Friedrich Gottlieb Klopstock und Ludwig Rellstab; Konzept: Burkhard Kehring (Hochschule für Musik und Theater Hamburg)
Einführung — Ivana Rentsch (Institut für Historische Musikwissenschaft, Universität Hamburg)
Musikerinnen, Studierende der Hochschule für Musik und Theater: Anna Bottlinger (Sopran), Yi-Wen Chen (Klavier), Chen-Han Lin (Countertenor), Rita Rolo Morais (Sopran), João Sousa (Klavier)
f r e i t a g
10.15 Begrüßung — Petra Lange-Berndt (Kunstgeschichtliches Seminar, Universität Hamburg) & Dietmar Rübel (Akademie der Bildenden Künste München)
10.30 Hans Hönes (History of Art, University of Aberdeen) — Blick auf die Insel: Deutsch-britische Dialoge
11.15 Elisabeth Ansel (Institut für Kunstwissenschaften, Friedrich-Schiller-Universität Jena) — „Gälische Überreste“: Ossian, Kolonialismus und die Schattenseiten der Romantik
12.00 Marten Schech (Künstler, Berlin) — Eine Innenwelt der Außenwelt der Innenwelt. Die An-, Ein- und Umbauten für die Ausstellung Kunst um 1800
12.45 Mittagspause
14.00 Lucas Stübbe (Kunstgeschichtliches Seminar, Universität Hamburg) — Körper, Kolonialismus und Kunst um 1800. Eine kritische Impulsführung
14.45 Uta Lohmann (Institut für Judaistik, Universität Hamburg) — Moses Samuel Lowe und Benedict Heinrich Bendix. Zwei jüdische Künstler um 1800
15.30 Kaffeepause
16.00 Lea Kuhn (Zentralinstitut für Kunstgeschichte München) — Marie-Gabrielle Capet: Kunst der Konstellation
17.00 Ende der Tagung
Exhibition | Satirical Prints in Georgian London and Dublin
The exhibition recently closed in Dublin with the catalogue available from Churchill House Press and Centro Di:
Artists and Pirates: Satirical Prints in Georgian London and Dublin
Irish Architectural Archive, Dublin, 13 November 2025 — 8 January 2026
The Driehaus Museum, Chicago, 15 May — 13 September 2026
Curated by Silvia Beltrametti and William Laffan
Single-sheet satire emerged in the louche milieu where politics and high society of late Georgian London intersected. Artists such as James Gillray (1756–1815) and Thomas Rowlandson (1757–1827) combined devastating wit with graphic brilliance to lampoon the great and the good, the vain and the vacuous, creating timeless images inspired by moments of fleeting controversy or scandal. Availing of a legal loophole under which copyright law protecting images did not apply to Ireland, a business of pirating caricatures by London satirists also flourished in Regency Dublin. The work of these Dublin plagiarists—which though derivative is paradoxically inventive and vibrant—as well as prints of Irish subject matter by English caricaturists such as Gillray, is the subject of this exhibition and the accompanying publication. Caricature dealt with the great political issues of the day, including religious toleration and contested concepts of liberty, but was also a vehicle to explore less elevated and often risqué (sometimes scatological or pornographic) subject matter. Single-sheet satire, Georgian England’s greatest artistic innovation, and its smaller but still dynamic offshoot in early nineteenth-century Dublin offer a fascinating—and very funny—chronicle of the human comedy.
Silvia Beltrametti and William Laffan, eds., Artists and Pirates: Satirical Prints in Georgian London and Dublin (Fenit, County Kerry: Churchill House Press with Centro Di, 2025), 184 pages, ISBN: 978-8870385939, €30. With additional contributions by James Kelly (Professor of History at Dublin City University), David Fleming (Professor of History at the University of Limerick), and Ben Casey (PhD candidate, University of Maynooth).
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Note (added 15 February 2026) — The original posting omitted the Chicago venue, though a note suggested the possibility, with reference to the Centro Di website. At The Driehaus Museum, the show will be titled Ink and Outrage: 18th-Century Satirical Prints in London and Dublin.
Exhibition | Savonnerie Carpets of Louis XIV
Opening soon (for just one week) at the Grand Palais:
Le Trésor Retrouvé du Roi-Soleil / The Rediscovered Treasure of the Sun King
Grand Palais, Paris, 1–8 February 2026
Curated by Wolf Burchard, Emmanuelle Federspiel, and Antonin Macé de Lépinay
For the first time in history, the monumental carpets commissioned by Louis XIV for the Louvre’s Grand Gallery are brought together and displayed beneath the glass roof of the Grand Palais.
In 1668, as King Louis XIV prepared to make the Louvre his royal residence, he entrusted his First Painter, Charles Le Brun, with a bold and magnificent commission: the creation of 92 carpets, woven at the Savonnerie Manufactory, to adorn the floor of the palace’s most majestic gallery. Each carpet, nine meters wide, was meant to form a spectacular decorative ensemble, one of the most ambitious ever conceived for a royal palace. Fate, however, took a different course. Never installed in the Louvre, these treasures crossed the centuries through revolutions, sales, and dispersals. Today, 41 original carpets remain in the collections of the National Manufactories, 33 of which are complete. Brought together for the first time beneath the glass roof of the Grand Palais, alongside a carpet designed for the Galerie d’Apollon, they offer a display of rare magnificence. A unique and historic event, lasting just one week, inviting visitors to discover these jewels of French heritage in a setting worthy of their splendor.
Exhibition co-produced by the GrandPalaisRmn and Les Manufactures nationales – Sèvres & Mobilier national.
Curators
• Wolf Burchard | Curator, Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York
• Emmanuelle Federspiel | Conservatrice en chef du patrimoine, inspectrice des collections des Manufactures nationales – Sèvres & Mobilier national
• Antonin Macé de Lépinay | Inspecteur des collections des Manufactures nationales – Sèvres & Mobilier national
Scénographie
• Clément Hado and Anthony Lelonge – Manufactures nationales
Exhibition | The Count of Artois, Prince and Patron
Château de Maisons, in Maisons-Laffitte, a northwest outer suburb of Paris, about 12 miles from the city center
(Photo: © EPV / Thomas Garnier)
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From the Château de Versailles:
The Count of Artois, Prince and Patron: The Youth of the Last King of France
Château de Maisons, Maisons-Laffitte, 14 November 2025 — 2 March 2026
The result of a partnership between the Centre des Monuments Nationaux and the Palace of Versailles, this exhibition traces the life of the Count of Artois (1757–1836), brother of Louis XVI and the future Charles X, through his residences, his artistic projects, and his passions. From the splendor of the Château de Maisons to the count’s exile in 1789, it reveals the journey of a refined prince at the heart of the 18th century.
The exhibition begins with a presentation of the Château de Maisons in the 18th century and then traces the life of the Prince of Artois from his birth to his exile. The prince’s personality, his life, his patronage, and his taste are explored through a great variety of objects: graphic arts, paintings, objets d’art, sculptures, furniture, curiosities, and books. The exhibition also highlights the prince’s interest in architecture, as he was the last owner of the Château de Maisons under the Ancien Régime. Sourced primarily from the collections of the Palace of Versailles, the exhibition benefits from additional prestigious loans from the National Archives, the National Library of France, the Louvre Museum, the Mobilier National, the Château de Fontainebleau, the Carnavalet Museum, the Musée de l’Armée – Invalides, the municipal library of Versailles, and the Fine Arts Museums of Amiens and Reims, as well as from private collections.
The exhibition as installed at the Château de Maisons
(Photo: © EPV / Thomas Garnier)
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The Count of Artois, Future Charles X
Reputed for his frivolous spirit and taste for luxury, the Count of Artois was both an attractive and controversial figure, eccentric yet conservative. Charles-Philippe of France, known under the title Count of Artois, was born in Versailles on 9 October 1757. He was the grandson of Louis XV and the brother of Louis XVI and the future Louis XVIII. He became King of France upon the death of the latter in 1824, under the name Charles X, and soon emerged as the representative of the most uncompromising Catholic faction. He was consecrated at Reims the following year. The July Ordinances of 1830, which restricted freedom of the press and dissolved the Chamber, triggered an uprising that became known as the Three Glorious Days. Faced with the revolt, Charles X abdicated and left France. His exile led him first to Scotland, then to Prague, and finally to Istria (a peninsula shared by Slovenia, Croatia, and Italy), where he died on 6 November 1836.
A Taste for Innovation
From an early age, the Count of Artois distinguished himself through his marked interest in splendor and refinement, coupled with an unrestrained passion for the modern currents of art and fashion. He was very close to Marie-Antoinette at the beginning of her reign, and they shared this common enthusiasm. However, unlike the queen, constrained by the demands of court etiquette, the Count of Artois enjoyed far greater freedom to adopt and promote the latest trends.
The château de Maisons, a masterpiece by François Mansart, was built from 1633 onward for René de Longueil, a magistrate of the Parliament of Paris. Designed as a pleasure residence, it became, as early as the 17th century, a place admired by the court. King Louis XIV himself visited it several times. In the following century, the estate entered a new era of splendor when, in 1777, the Count of Artois acquired it. He commissioned the architect François-Joseph Bélanger to transform the château with ambitious embellishment projects, refined interior decoration, and modern gardens. The count intended to make it both a setting for entertainment and a symbol of aristocratic refinement. But the upheavals of 1789 brought the work to a halt, and the prince’s property was confiscated.
After the Revolution, the château passed through various hands, from Marshal Lannes under the Empire to the banker Jacques Laffitte, who subdivided the park. The château was saved from ruin at the beginning of the 20th century thanks to its listing as a historic monument and its acquisition by the State. Today, restored and open to the public, the Château de Maisons remains a jewel of the Grand Siècle and still bears the mark of the Count of Artois’s lavish ambitions, whose tenure constitutes one of the most brilliant episodes in its history.
A Dialogue between Collections
The partnership established in 2013 between the Centre des Monuments Nationaux and the Palace of Versailles creates a dialogue between collections that are too often overlooked and major landmarks of France’s national heritage. Temporary exhibitions allow both institutions to pool their resources in order to offer as many people as possible the opportunity to discover, or rediscover, chapters of French history within the prestigious setting of national monuments. The CMN and the Palace of Versailles have concluded a deposit agreement that will allow the return and presentation, in situ, of works that were once at Maisons during the time of the Count of Artois, seized during the Revolution, and later kept at Versailles.
Curators
• Laurent Salomé, director of the National Museum of the Palaces of Versailles and Trianon
• Vincent Bastien, scientific collaborator at the Palace of Versailles
• Benoît Delcourte, chief curator at the Palace of Versailles
• Raphaël Masson, chief curator at the Palace of Versailles
• Clotilde Roy, responsible for enriching the collections of the Centre des Monuments Nationaux
• Gabriel Wick, doctor of history
Vincent Bastien, Benoît Delcourte, and Clotilde Roy, eds., Le Comte d’Artois, Prince et Mécène: La Jeunesse du Dernier Roi de France (Paris: Éditions du patrimoine, 2025), 96 pages, ISBN: 978-2757710821, €16.
Exhibition | Virtue and Vice: Allegory in European Drawing
On view this spring at The Getty:
Virtue and Vice: Allegory in European Drawing
Getty Center, Los Angeles, 3 March — 7June 2026
This rotation from Getty’s collection explores how European artists from the 16th to 19th centuries made drawings to criticize bad behavior as well as praise virtuous deeds. Drawings of proper and improper conduct range from straightforward examples (charity, lust, and greed) to complex allegories (virtue, decadence, and friendship). Whether warning against sinful ways or celebrating how one should behave, drawings visualized moral codes, political ideologies, and social norms.
Image: Jacques de Gheyn II, Allegory of Avarice, ca. 1609, pen and brown ink, 18 × 13 cm (Los Angeles: The J. Paul Getty Museum, 2003.23).
Exhibition | Learning to Draw
Hubert Robert, A Draftsman in the Capitoline Gallery, detail, ca. 1765, red chalk, 46 × 34 cm
(Los Angeles: Getty Museum, 2007.12)
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Now on view at The Getty:
Learning to Draw
The Getty Center, Los Angeles, 21 October 2025 — 25 January 2026
Drawing is a skill, gained like any other through study and practice. Combining the movement of the hand with the dedication of the mind, drawing was considered the foundation of the arts of painting, sculpture, and architecture since the Renaissance. Proficiency in drawing was critical for exploring, inventing, and communicating ideas visually, but how was this foundational ability actually learned? This exhibition explores artistic training and the mastery of drawing in Europe from about 1550 to 1850.
Exhibition | Painters, Ports, and Profits
Unknown artist (Company style), Breadnut (Artocarpus camansi), ca. 1825, watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, sheet: 15 × 19 1/4 inches (New Haven: Yale Center for British Art, Paul Mellon Fund, B2022.5).
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From the press release for the exhibition, which opens today:
Painters, Ports, and Profits: Artists and the East India Company, 1750–1850
Yale Center for British Art, New Haven, 8 January — 21 June 2026
Curated by Laurel Peterson and Holly Shaffer
The Yale Center for British Art presents Painters, Ports, and Profits: Artists and the East India Company, 1750–1850 from January 8 through June 21, 2026. Spanning a century of artistic production, the exhibition reveals the material and technical innovations of the Indian, Chinese, and British artists whose work and lives were shaped by the British East India Company’s global reach. Featuring more than one hundred objects, Painters, Ports, and Profits highlights the beauty and range of the extraordinary artwork produced within the context of one of the most powerful and ruthless corporations in history.
“This exhibition brings to light an astonishing chapter of global art history, when artistic innovation and exchange flourished under the shadow of empire,” said Martina Droth, Paul Mellon Director of the Yale Center for British Art. “It tells the story of direct encounters between artists from different continents and traditions, who responded to one another by experimenting with new materials and methods. We are thrilled to share these important, and rarely seen, works from our collection and to invite new reflection on their artistic legacy.”
Between 1750 and 1850, the Company’s growing commercial, military, and political operations linked an incredibly varied group of artists—amateurs, soldiers, and professionals—into a vast network that stretched from London to Calcutta (Kolkata) to Canton (Guangzhou). As goods, people, and ideas circulated through the Company’s networks, artists experimented with papers, pigments, and methods, adapting techniques from different traditions to develop a striking visual language that connected art to the expanding global economy.
“We are excited to take visitors on a journey to ports and trading cities across India and China where artists produced captivating and innovative works of art,” said exhibition curators Laurel O. Peterson and Holly Shaffer. “The period of the East India Company is one in which art and business intersected. There is a profound tension between the ventures of a global corporation and the works of beauty created by the artists in its orbit. With technical brilliance, these artists ingeniously fused traditions and materials together to develop new ways of making, picturing, and selling.”
Years in development, the preparations for Painters, Ports and Profits included extensive original research and careful technical study by curators and conservators at the YCBA in collaboration with conservation scientists at Yale’s Institute for the Preservation of Cultural Heritage. The resulting exhibition illuminates the museum’s deep holdings of Asian art, showcasing many exceptional works that have hardly ever or never been displayed. Highlights of the exhibition include stunning small- and large-scale portraits, such as the monumental Woman Holding a Hookah at Faizabad, India (1772) by Tilly Kettle and the intimate Portrait of a Woman (ca. 1850) by an artist from the circle of eminent painter Lam Qua. Watercolor drawings of a great Indian fruit bat by Bhawani Das (1778–82) and breadnut by an artist once known (ca. 1825), among others, record the flora and fauna of the Company’s domain with striking naturalism. A spectacular thirty-seven-foot-long scroll uses delicate watercolor to depict the city of Lucknow, India, in panoramic detail, which recent technical analysis has revealed was completed by multiple artists working in collaboration.
Painters, Ports, and Profits: Artists and the East India Company, 1750–1850 is organized by the Yale Center for British Art. The exhibition is curated by Laurel O. Peterson, Assistant Curator of Prints and Drawings at the YCBA, and Holly Shaffer, Associate Professor in the Department of the History of Art and Architecture at Brown University.
r e l a t e d p r o g r a m m i n g
First Look | Painters, Ports, and Profits: Artists and the East India Company, 1750–1850
Thursday, 15 January, 4pm, Lecture Hall and Livestream
Spring Exhibitions Openings
Thursday, 26 February, 4pm, Lecture Hall and Livestream
Curator Tours
Thursdays, 22 January, 26 March, 16 April, 21 May, and 18 June, 4pm
Docent Tours
Saturdays, 3pm
The catalogue is published by YCBA and distributed by Yale UP:
Laurel O. Peterson and Holly Shaffer, eds., Painters, Ports, and Profits: Artists and the East India Company, 1750–1850 (New Haven: Yale Center for British Art, 2026), 280 pages, ISBN: 978-0300286540, $65. With contributions by Mark Aronson, Tim Barringer, Swati Chattopadhyay, Soyeon Choi, Anita Dey, Gillian Forrester, Navina Najat Haidar, Richard R. Hark, Emma Hartman, Brooke Krancer, Margaret Masselli, Kaylani Madhura Ramachandran, Romita Ray, Yuthika Sharma, Marcie Wiggins, Winnie Wong, and Tom Young.
Featuring more than one hundred objects drawn primarily from the YCBA’s collection, including architectural drawings, watercolors, and hand-colored aquatints, the catalog critically reconsiders the vibrant creative exchanges between artists in India, China, and Britain during a period driven by ruthless commercial and colonial expansion.
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