Exhibition | John Clerk of Eldin (1728-1812)
From Edinburgh’s City Art Centre:
John Clerk of Eldin (1728-1812)
Edinburgh City Art Centre, 3 November 2012 — 3 February 2013
Curated by Geoffrey Bertram
John Clerk of Eldin, Craigmillar Castle from the South-East, detail
John Clerk of Eldin is well known to historians of 18th-century British art, and he is often included in exhibitions and publications relating to the work of other 18th-century figures, namely Robert Adam, the architect, and of Paul Sandby, the well respected English painter and printmaker. In addition, his geological drawings are highly valued by geologists as the illustrations provided for Dr James Hutton’s seminal 1790s publication ‘A Theory of the Earth’. However Clerk’s etchings have never received a major overview, which the exhibition aims to redress. This anniversary year provides a perfect opportunity to highlight the prints of this remarkable man.
The exhibition is being organised and curated by Geoffrey Bertram. The main part of the exhibition is being lent by the Clerk family, supplemented with additional etchings to be borrowed from the National Gallery of Scotland. The etchings presented will range from some of the earliest efforts to those finest, with some related drawings that show his working method. These will be supplemented by sketchbooks, geological drawings and copies of the 1855 compendium of etchings published by the Bannatyne Club, Edinburgh, as well as other items relating to his life and work.
For more information, see the exhibition website»
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Catalogue: Geoffrey Bertram et al, The Etchings of John Clerk of Eldin (Enterprise Editions, 2012), 180 pages, ISBN 9780957190405, £35.
Published to commemorate the 200th anniversary of Clerk’s death, the book catalogues all of Clerk’s etchings and examines his etching technique and the influences on his style. It also includes essays by Iain Gordon Brown “John Clerk of Eldin and ‘The Virtuoso Genius of the Family'” and Duncan Macmillan “Scottish Printmakers in the Eighteenth Century.” Copies are available from Bertram Enterprises, 1 Knutscroft Lane, Thurloxton, Somerset TA2 8RL email: geoffrey@clerkofeldin.com
Exhibition | Significant Objects: The Spell of Still Life
From the Norton Simon:
Significant Objects: The Spell of Still Life
Norton Simon Museum, Pasadena, 20 July 2012 — 21 January 2013
Jean-Baptiste Siméon Chardin, Dog and Game, 1730 (Norton Simon Museum)
The classical definition of a still life—a work of art depicting inanimate, typically commonplace objects that are either natural (food, flowers or game) or man-made (glasses, books, vases and other collectibles)—conveys little about the rich associations inherent to this genre. In the academic tradition of Western art, still life occupied the lowest position in the hierarchy of the arts, which recognized history painting, portraiture and landscape painting as superior. It was disparaged critically and theoretically as mere copying that lacked artistic imagination and placed no intellectual demands on the viewer. Significant Objects: The Spell of Still Life posits that nothing could be further from the truth for this category of art, which hovers between mimesis and symbolism, and in which artistic skill and fantasy are tantamount to its success. Drawing on the spectacular resources of the Norton Simon collections, the exhibition explores the wealth of aesthetic and conceptual artistic strategies that challenge the shortsighted view of still life as simply an art of imitation. It also underscores why the still life continues to be an important vehicle of expression.
Significant Objects examines the genre from four perspectives designed to tease out the import of the still life, to identify the rich associational value of time, place or circumstance, and to encourage meaningful encounters with the objects.
The first section, Depiction & Desire, looks at the still life as a barometer of wonder and of the impulse to collect and display. Exacting portrayals of individual flowers or cubist abstractions that seize on the sensual elements of color, texture and weight are illustrative of the passion to capture, document and celebrate material pleasures and possessions through the counterfeit of the visual image. Virtuosity considers the exercise of skill and the mastery of technique as a means to create illusion and objects of imaginative, complex beauty. Still lifes rendered in oil, pastel, wood and various printing processes invite scrutiny as to how artists make the difficult look easy and where the boundaries lie between technical expertise and artistry. Decoding the Still Life approaches these arrangements as coded with meaning and allegory. From the popular and moralizing symbols embedded in 17th-century fruit and flower paintings to the political and personal meanings insinuated by 19th- and 20th-century artists, these implied secrets bring a mysterious resonance to the compositions and underscore their capacity to communicate intellectual insights. Finally, Still Life off the Table takes a liberal view of the genre, looking at radical variations that can be considered still-life related. Abstractions, assemblage and the deconstruction of the tabletop arrangement show how the genre stretches beyond the conventions of its historically conservative nature and yet is malleable enough to remain a vital instrument for provocative, contemporary innovations.
Still life occupies a special place in the Norton Simon Museum, with singular examples in a variety of media, including paintings, prints and photographs. Mr. Simon acquired his first still life in 1955. From that moment on, the genre maintained his attention much as any other he pursued, if it met his criteria for quality, rarity and beauty. Though cautious about revealing his favorite objects in the collection, Simon admitted a deep fondness for Paul Cézanne’s Tulips in a Vase, 1888–90, which is presented in the exhibition. Also included are stellar examples by the genre’s greatest practitioners: Jan Brueghel, Rembrandt and Francisco de Zurbarán, from the 17th century; Jean-Baptiste Siméon Chardin, Gustave Courbet, Henri Fantin-Latour and Vincent van Gogh, from the 18th and 19th centuries; and Pablo Picasso, Richard Diebenkorn, Imogen Cunningham, Edward Weston and George Herms, from the 20th century.
New Title and Exhibition | New York Rising
From ACC Distribution:
Valerie Paley, New York Rising: New York and the Founding of the United States (London: Scala Publishers, 2012), 64 pages, ISBN: 9781857597769, $10.
Published in conjunction with the opening of the New-York Historical Society’s newly installed permanent gallery, New York Rising: New York and the Founding of the United States seeks to capture this nascent moment in America’s history. Featuring paintings, sculpture, historical documents and other fascinating artefacts, this fully illustrated book details important moments in both the history of New York and of the United States. These include the occupation of New York by the British Army during the Revolutionary War; the city’s role as marketplace and centre of commerce; the inauguration of George Washington as first President of the United States; the politically-charged duel fought by Alexander Hamilton and Aaron Burr; and the establishment of the New-York Historical Society. Associations are made between the paintings and the objects in the exhibition that set in context these events and the individuals who shaped and were shaped by
them.
Valerie Paley is Historian for Special Projects at the New-York Historical Society.
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Exhibition | Daily Pleasures: French Ceramics
From LACMA:
Daily Pleasures: French Ceramics from the MaryLou Boone Collection
Los Angeles County Museum of Art, 6 October 2012 — 31 March 2013
Ewer, c. 1700, Rouen, France, Earthenware with tin glaze and enamel (grand feu faïence), 11 x 11 in. LACMA, Gift of MaryLou and George Boone in honor of the museum’s twenty-fifth anniversary, M.2010.51.1, Photo © Susan Einstein.
Long-time LACMA benefactor MaryLou Boone has amassed the West Coast’s finest collection of French faience and soft-paste porcelain, 25 pieces of which she gave to LACMA in 2010. (Although originally made to emulate hard-paste porcelain imported into Europe from Asia, faience and soft-paste porcelain ultimately became distinctive and sought-after ceramics in their own right.)
The exhibition comprises over 130 pieces from the foremost manufactories of the era, representing myriad aesthetic influences, as well as advances in technology and the rhythms of domestic life. The collection includes wares for dining and taking tea, for storing the many toiletries necessary for a stylish appearance, and for preparing mixtures that comforted in time of sickness. Inextricably intertwined with every day duties and diversions, these objects provide a unique view of French life and culture.
The accompanying exhibition catalogue, Daily Pleasures: French Ceramics from the MaryLou Boone Collection, includes more than 145 entries of French faience and porcelain from the collection, as well as essays about the collector and 17th and 18th-century French ceramics.
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From ACC Distribution:
Elizabeth Williams and Meredith Chilton, Daily Pleasures French Ceramics from the MaryLou Boone Collection (Los Angeles: Los Angeles County Museum of Art, 2012), 392 pages, ISBN: 9780875872155, $75.
MaryLou Boone’s collection of French ceramics spans the reigns of some of France’s most fascinating kings, from Louis XIII to Louis XVI, yet the collection is not one of royal vases and princely gifts but, rather, of wares for dining and taking tea, of porcelain frivolities, and of ceramics for the sickroom and the pharmacy. Mrs. Boone – a collector, scholar, and donor – has amassed the West Coast’s finest collection of 17th and 18th-century French faience and soft-paste porcelain, objects that provide a unique view of French life and culture. Emphasizing the aesthetics French ceramics and also its functionality, the catalogue comprises over 130 collection entries, as well as essays on the collector, ceramics in 17th-18th century France, French faience and its makers and French porcelain and its makers. Although originally created to emulate Asian porcelain, faïence and soft-paste porcelain ultimately became distinctive and sought-after ceramics in their own right.
C O N T E N T S
• Michael Govan and John Murdoch — Foreword
• Elizabeth Williams — Introduction
• Map of Manufactories
• Victoria Kastner — MaryLou Boone: The Accidental Collector
• Meredith Chilton — The Pleasures of Life: Ceramics in Seventeenth- and Eighteenth-Century France
• Antoinette Faÿ-Hallé — French Faience from Its Origins to the Nineteenth Century
• Antoinette Faÿ-Hallé — Faience Manufactory Histories
• Faience Catalogue
• Meredith Chilton — Porcelain Production in Seventeenth- and Eighteenth-Century France
• Meredith Chilton — Porcelain Manufactory Histories
• Porcelain Catalogue
• Marks Appendix
• Glossary
• Selected Bibliography
• Illustration Credits
• Index
Meredith Chilton is an independent art historian and was the founding curator of the Gardiner Museum of Ceramic Art in Toronto from 1983 to 2004. She has curated many exhibitions, published extensively and lectured internationally. Antoinette Faÿ-Hallé is Conservateur général honoraire du Patrimoine and Ancien directeur du musée national de Céramique, Sèvres where she worked as both a conservator and director. She has organized many ceramic and glass exhibitions and written extensively on the history of ceramics. Catherine Hess is Chief Curator of European Art at The Huntington Art Collections in San Marino, California. She is responsible for a collection particularly strong in Renaissance bronzes, 18th-Century French decorative arts, and 18th-Century British portraiture. Victoria Kastner, the Historian at Hearst Castle, has published several books and holds graduate degrees in architectural history and museum management. Elizabeth A. Williams is the Marilyn B. and Calvin B. Gross Assistant Curator of the Decorative Arts and Design department at the Los Angeles County Museum of Art.
Display | Citizens of the World: David Hume and Allan Ramsay
On this day, August 10th, of 1784 Allan Ramsay died at the age of 70; October 2013 marks the tercentennial of his birth. From the Scottish National Portrait Gallery:
Citizens of the World: David Hume and Allan Ramsay
Scottish National Portrait Gallery, Edinburgh, 1 December 2011 — 31 December 2015
Scotland made a remarkable contribution to the European Enlightenment of the eighteenth century with many of her citizens contributing to the ferment of ideas and shifts in attitude which transformed the world. Two Scots, David Hume, the great philosopher, and Allan Ramsay, the outstanding painter, were at the centre of this cultural and intellectual revolution. This display explores their world, their friends, their families and their patrons.
Exhibition | Stories in Sterling: Four Centuries of Silver in New York
From the New-York Historical Society:
Stories in Sterling: Four Centuries of Silver in New York
New-York Historical Society Museum & Library, 4 May — 2 September 2012
Brandywine bowl (brandewijnkom), silver, ca. 1700 (New-York Historical Society) — Brandywine bowls are traditionally associated with the Dutch New York ritual of the kindermaal, a celebratory feast held in honor of a mother and her newborn child within ten days of the birth. The guests, predominantly female, feasted on sweet cakes and communally sipped a potent brew of brandy and raisins from a bowl such as this.
Stories in Sterling: Four Centuries of Silver in New York, highlights the histories of 150 notable examples of silver from the New-York Historical Society’s collection. Made across the span of four centuries, the objects in the exhibition tell a diversity of stories: many speak to individual accomplishment and family pride, while a few have unsettling ties or backgrounds. The silver, ranging from simple spoons to extravagant trophies, culled from a trove of over 3,000 objects, includes powerful eyewitness artifacts linked to significant moments in the history of New York and the United States.
Stories in Sterling interprets these compelling objects within a cultural context, focusing on the men and women that made, used, and treasured these objects. The exhibition is organized thematically and addresses issues of silver patronage, usage of objects, rituals of presentation and the meanings of silver as they evolved over time. The exhibition will be enriched by a judicious selection of paintings, prints, photographs, manuscripts, furniture and other documents that illuminate the silver, help bring to life the individuals who acquired it and illustrate the physical context in which it was used.
Objects in the exhibition span the sixteenth through the twentieth centuries, with a concentration on silver of the eighteenth and nineteenth centuries. While the majority of objects were made in New York, some were crafted as far afield as England, the Netherlands, France, as well as China, Jamaica, and Argentina. All of the silver is firmly connected through its ownership to New York, highlighting the cosmopolitan nature of the city as early as the seventeenth century. For instance, the examples of Dutch silver brought to New York by early settlers, as well as the many imports from England, help chart cultural shifts, taste, and stylistic influence in colonial America and the early years of the nation.
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From the publisher:
Margaret K. Hofer with Debra Schmidt Bach, Stories in Sterling Four Centuries of Silver in New York (London: Giles, 2012), 352 pages, ISBN: 9781904832652, $70.
Stories in Sterling is the first comprehensive survey of the New-York Historical Society’s superb collection of early American silver, one of the finest in the United States. It features the full range of silver works, from masterpieces like the 1772 salver by New York City silversmith Lewis Fueter, to the simpler, but no less significant teapot made for the Schuyler family by the Albany silversmith Kiliaen Van Rensselaer in 1695 – one of the earliest teapots made in New York.
Seven chapters consider silver from a range of perspectives: its reflection of the multiethnic character of colonial New York; the impact of industrialization on its manufacture and consumption; its role in honouring public achievement or marking rites of passage; and, finally, its ability to express its owners’ social standing. With a wealth of related objects and original documents, Stories in Sterling is a vital reference tool for for scholars, collectors and enthusiasts of American silver and culture. It features extensive and superbly illustrated entries
with full dimensions, makers’ marks and weights in troy ounces,
and an appendix and checklist.
Margaret K. Hofer is curator of Decorative Arts at the New-York Historical Society, where she has organized numerous exhibitions, including A New Light on Tiffany (2007), which she co-authored. Debra Schmidt Bach, associate curator at the New-York Historical Society organized the exhibition The Grateful Dead: Now Playing at the New-York Historical Society,(2010). Kenneth Ames is professor of American Decorative Arts and Material Culture of the 18th and 19th-centuries at the Bard Graduate Center, New York. His publications include Beyond Necessity: Art in the Folk Tradition; Death in the Dining Room and Other Tales of Victorian Culture (1995). David Barquist is curator of American Decorative Arts at Philadelphia Museum of Art, and a scholar on colonial New York silver. He is the author of Myer Myers Jewish Silversmith in Colonial New York (2001).
Exhibition | Migrations: Journeys into British Art
From Tate Britain:
Migrations: Journeys into British Art
Tate Britain, London, 31 January — 12 August 2012
Benjamin West, Pylades and Orestes Brought as Victims before Iphigenia, 1766 (London: Tate), N00126
This exhibition explores British art through the theme of migration from 1500 to the present day, reflecting the remit of Tate Britain Collection displays. From the sixteenth- and seventeenth-century Flemish and Dutch landscape and still-life painters who came to Britain in search of new patrons, through moments of political and religious unrest, to Britain’s current position within the global landscape, the exhibition reveals how British art has been fundamentally shaped by successive waves of migration. Cutting a swathe through 500 years of history, and tracing not only the movement of artists but also the circulation of visual languages and ideas, this exhibition includes works by artists from Lely, Kneller, Kauffman to Sargent, Epstein, Mondrian, Bomberg, Bowling andthe Black Audio Film Collective as well as recent work by
contemporary artists.
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From the Tate Shop:
Lizzie Carey-Thomas, Migrations: Journeys into British Art (London: Tate, 2012), 128 pages, ISBN: 9781849760072, £15.
With contributions by John Akomfrah, Tim Batchelor, Sonia Boyce, Emma Chambers, T.J. Demos, Kodwo Eshun, Leyla Fakhr, Paul Goodwin, Nigel Goose, Karen Hearn, David Medalla, Lena Mohamed, Panikos Panayi and Wolfgang Tillmans.
This book offers a unique perspective on the history of British art, charting how it has been shaped by successive waves of migration. It cuts a swathe through five hundred years of history and traces not only the movement of artists themselves, but also the circulation of art and ideas, from the hugely influential arrival of Northern European artists such as Anthony van Dyke in the sixteenth and seventeenth centuries to the influence of Italy and the development of neoclassicism on eighteenth-century artists such as Benjamin West, and on to the broad cultural interchange of the Victorian era. James McNeill Whistler and John Singer Sargent were two of many artists who moved between Britain, France and the United States in the nineteenth century. In the early twentieth century, David Bomberg and Mark Gertler were among the group of second-generation Jewish artists who played a considerable role in the establishment of British modernism. The rise of fascism in the 1930s, causing artists such as Oskar Kokoschka and Kurt Schwitters to flee to Britain, foreshadowed the explosion of a multicultural diaspora. Several generations of artists have since explored what it means to be both ‘black’ and ‘British’, and contemporary artists continue to investigate the meaning of identity today.
Generously illustrated, and including artist interviews and texts by leading curators and art critics, this illuminating book tells a previously hidden but vital story in the shaping of British art and culture.
Exhibition | Watercolours at Gainsborough’s House
From Gainsborough’s House:
Drawings and Watercolours from a Private Collection 1700-1840
Gainsborough’s House, Sudbury, Suffolk, 30 June – 29 September 2012
Curated by Huon Mallalieu
The main exhibition at Gainsborough’s House for 2012 is a selection of British watercolours from a distinguished private collection in East Anglia. Formed during the 1950s and 1960s the extensive collection from which this selection of some 70 examples has been made by guest curator Huon Mallalieu, is one of the last remaining in private hands from the golden age of connoisseurship in British watercolours.
The exhibition concentrates on Thomas Gainsborough’s contemporaries and includes works by famous artists (J.M.W. Turner, Paul Sandby, J.R. Cozens, Thomas Rowlandson, Francis Towne), as well as items by important forerunners, lesser known practitioners, and amateurs of varying skill. The selection is thematic with an emphasis on topography beginning in East Anglia and moving outwards to London across the English Channel to mainland Europe, and then over the oceans to America, India and China.
Exhibition | Prints at the Frick in Pittsburgh
From the Frick Art & Historical Center:
In the English Manner: Mezzotint Portraits
Frick Art & Historical Center, Pittsburgh, 16 June — 2 September 2012
Edward Fisher, after Sir Joshua Reynolds, Miss Jacob alias Miss Roberts alias Mrs. Glynn, 1762. Published 1762 by Johnathan Spilsbury. Mezzotint (Pittsburgh: Frick Art & Historical Center)
The temporary exhibition galleries at the Frick is home to three simultaneous exhibitions of prints this summer. Thirty-five etchings by 17th-century master Jacques Callot and his followers form the cornerstone of our summer look at printmaking. Together, the three exhibitions span more than 200 years and provide a look at three different centuries as observed by artists working with different techniques and for different purposes, yet all illustrating the importance of the printmaker in recording, publishing and disseminating a distinct view of the world. . . .
While Callot’s work gives us a look at a slice of 17th-century life and subject matter, a selection of fine 18th-century English mezzotints purchased by Henry Clay Frick in the early twentieth century provides a fascinating look at who-was-who in eighteenth-century England. The majority of these mezzotints are of fashionable society figures whose appeal has endured for collectors. English portraiture in particular was extremely popular with American collectors in the early 20th century. A collection of portraits evoked an appreciation of history and continuity, while conjuring images of a gracious lifestyle to which America’s newly rich aspired. Frick’s mezzotints, purchased from one of his regular dealers, Knoedler & Co, were hung at both his New York residence and his summer home in Massachusetts.
Mezzotint is a printmaking process that dates to the seventeenth century. It quickly gained prominence as the preferred method for creating reproductions of famous paintings. Used with particular success to make reproductive prints of portraits by Thomas Gainsborough (1727–1788), Sir Joshua Reynolds (1723–1792), John Hoppner (1758–1810), and Sir Thomas Lawrence (1769–1830), the process became so popular in 18th-century England that the technique is sometimes referred to as “the English manner.” Mezzotint as a form was prized for its ability to imitate the tonal properties of painting.
The technique begins with a copper plate that is “rocked” over its entire surface. This rocking, done with a sharp, toothed instrument, creates a surface covered with tiny metallic burs which hold the ink—a completely rocked plate prints a rich velvety black. The image is created by flattening the burs, and creating smooth areas in the copper; the smoother or more polished the plate, the lighter the area prints. Even without the use of colors, a mezzotint has incredible depth and richness of tone, which in the hands of a skilled printmaker, creates a painterly feel.
The 13 prints included in this exhibition are almost all of fashionable ladies, some from a series by Valentine Green (1739-1813) published in 1780, Beauties of the Present Age, which featured Green’s mezzotints made after Reynolds’ portraits. An etcher, mezzotint, and aquatint artist, Green was one of the most celebrated and prolific British printmakers of the late eighteenth century. He produced nearly 400 plates in his distinguished career, which included an appointment as Royal Engraver to King George III.
Henry Clay Frick owned a number of significant oil on canvas examples of eighteenth-century portraiture; Yet, Frick and his peers also prized the works of the masters of the mezzotint—artists like Valentine Green and John Raphael Smith (1752–1812) who could take on a Gainsborough or a Reynolds and translate its power into print.
Exhibition | Drawings from the Christian and Isabelle Adrien Collection
Didier Rykner reviewed the exhibition for The Art Tribune in May (with an English version available). From the museum’s website:
Une Collection Particulière: Les Dessins de la Collection Christian et Isabelle Adrien
Le Musée des Beaux-Arts de Rennes, 21 March — 26 August 2012
Le musée des Beaux-Arts de Rennes présentera, à partir du 21 mars, les plus belles feuilles de la collection de dessins de Christian et Isabelle Adrien. Au hasard des rencontres, à la lumière de quelques intuitions fulgurantes, M. Adrien a inlassablement cherché et étudié, tout au long de sa vie, les feuilles dessinées par les grands maîtres du passé. C’est à Rennes que ce collectionneur d’origine bretonne invite aujourd’hui le public à venir partager sa passion pour le dessin ancien. La découverte de près de quatre-vingt dessins français (La Hyre, Poussin, Boucher), italiens (Bandinelli, Salviati, Carraci) et nordiques (Bloemaert, Rubens), dont beaucoup sont encore inédits, marquera l’un des temps fort de la Semaine du dessin 2012 et de la programmation culturelle rennaise du printemps et de l’été prochain. Le catalogue de l’exposition, qui rassemble les notices des plus grands spécialistes de
chaque artiste, est dirigé par Monsieur Rosenberg, de l’Académie française.
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Catalogue: Francis Ribemont and Pierre Rosenberg, Dessins de la collection Christian et Isabelle Adrien (Paris: Editions Chaudun, Musée des beaux-arts de Rennes, 2012), 207 pages, ISBN: 9782350391281, $77.50. [Available from ArtBooks.com]
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