Exhibition | Wright of Derby: From the Shadows
Detail from Joseph Wright, An Experiment on a Bird in the Air Pump, 1768
(London: The National Gallery)
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From the press release for the exhibition:
Wright of Derby: From the Shadows
National Gallery, London, 7 November 2025 — 10 May 2026
Derby Museums, 2026
In the autumn of 2025, the National Gallery will present Wright of Derby: From the Shadows, the first exhibition dedicated to Joseph Wright ‘of Derby’ (1734–1797) at the National Gallery, and the first exhibition to focus on his ‘candlelight’ series. The exhibition is organised in partnership with Derby Museums where it will travel in 2026.
Following on from recent exhibitions such as Turner on Tour (2022) and Discover Constable & The Hay Wain (2024), this exhibition will put the spotlight on a well-known British artist in the National Gallery Collection whose work has come to symbolise an era. Traditionally, Wright of Derby has been viewed as a figurehead of the Enlightenment, a period of scientific, philosophical and artistic development in the 17th and 18th century. Challenging this conventional view, the exhibition contributes to the ongoing re-evaluation of the artist, portraying him not merely as a ‘painter of light’ but as one who deliberately explores the night-time to engage with deeper and more sombre themes, including death, melancholy, morality, scepticism, and the sublime.
This exhibition will focus on Joseph Wright’s career between 1765 and 1773, during which time he made a series of candlelit scenes. We will show a number of masterpieces from this period including Three Persons Viewing the Gladiator by Candlelight (1765, private collection), A Philosopher giving that Lecture on the Orrery in which a lamp is put in place of the Sun (1766, Derby Museum and Art Gallery), and the National Gallery’s An Experiment on a Bird in the Air Pump (1768). This marks the first time in 35 years that all these works will be brought together. In these ‘candlelight’ paintings, Wright of Derby shows thrilling moments, not just of discovery but of shared learning. His dramatic depictions of natural and artificial light link his work back to the artistic traditions of the Renaissance and artists such as Caravaggio, whose strong light and deep shadows were rarely employed in British art before the mid-18th century.
Yet Wright of Derby also engaged with very contemporary questions around the act of observation, spectacle and education raised by philosophers of the Enlightenment. In his masterpiece An Experiment on a Bird in the Air Pump, a travelling lecturer shows a well-established experiment to a family audience whose reactions range from wonder to horror. In The Orrery, the first of his paintings on a ‘scientific’ subject, a philosopher presents a lecture on astronomy using a clockwork model of the solar system as the centrepiece, the sun replaced by an oil lamp. In Three Persons Viewing the Gladiator by Candlelight, one artist holds up a drawing of the central sculpture for critical assessment. These works explore moral ambiguity in acts of looking, as well as the intellectual influence of ‘high’ art.
Wright ‘of Derby’ was working at a turning point for art viewing in the 18th century, when the public display of art and the instigation of annual contemporary art exhibitions were being promoted. The Air Pump was completed the same year as the creation of the Royal Academy and was intended to be accessible to a broad public (though it was displayed at the Society of Artists). Mezzotint prints of Wright’s works, which played a key role in establishing his international reputation, will also be on display. These luxury prints highlight how the artist took full advantage of popular reproduction techniques of his time to expand his reputation both at home and abroad.
Wright of Derby: From the Shadows will show over twenty works, including other paintings, works on paper, and objects that explore both Wright of Derby’s artistic practice and the historic context of scientific and artistic development in which they were made. Seventeen artworks will be coming from Derby Museums, who hold the world’s largest collection of Wright’s work. In 2026, Wright of Derby: From the Shadows, will travel to Derby Museum and Art Gallery, bringing two of Wright’s most famous works, The Air Pump and The Orrery, back to his hometown for the first time in 80 years.
Christine Riding and Jon King, Wright of Derby: From the Shadows (London, National Gallery London, 2025), 96 pages, ISBN: 978-1857097467, £20.
Exhibition | Miniature Worlds: Little Landscapes
William Beilby, River Landscape Seen through Trees, 1774
(Newcastle: Laing Art Gallery)
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Now on view in Newcastle, as noted by the Art History News blog:
Miniature Worlds: Little Landscapes from Thomas Bewick to Beatrix Potter
Laing Art Gallery, Newcastle, 18 October 2025 — 28 February 2026
Curated by Lizzie Jacklin
Miniature Worlds: Little Landscapes from Thomas Bewick to Beatrix Potter explores the intricate beauty of small-scale landscapes across three centuries of British art. The exhibition focuses on vignette format illustrations and the changing relationship between text, illustration, and publishing. Highlights include seven highly detailed watercolors by J.M.W. Turner, whose 250th birthday is being celebrated this year; a dramatic and diminutive drawing by John Martin; and nine intricate watercolours by Beatrix Potter. The exhibition features over 130 objects, 90 of which are loans from other UK collections.
Thomas Bewick, Angler on a Riverbank, Tailpiece Illustration from A History of British Birds, volume 2, p. 50, wood engraving (Newcastle: 1804 / Ashmolean Museum).
The exhibition opens with works by Newcastle artist and wood engraver Thomas Bewick (1753–1828), who reinvented both the wood engraving technique and the small borderless ‘vignette’ illustration. A section dedicated to ‘Poetic Landscapes’ explores small scale works made during the Romantic Era, which saw artists emphasise emotion, imagination, and engagement with the natural world. The exhibition then explores the world of Victorian and Edwardian children’s books, which were often produced in small, child-friendly formats. Highlights include three of John Tenniel’s iconic illustrations for Lewis Carroll’s Alice’s Adventures in Wonderland and original works by Beatrix Potter for The Tale of Peter Rabbit, The Tale of Flopsy Bunnies, and The Tale of Mrs Tittlemouse. The exhibition closes with 20th- and 21st-century works that reference and develop histories of the small-scale landscape in new ways.
Miniature Worlds: Little Landscapes features paintings and prints by artists including J.M.W. Turner, Beatrix Potter, Thomas Bewick, William Blake, Agnes Miller Parker, Eric Ravilious, Joanna Whittle, and more. Loans from Tate, the V&A, the British Museum, the Ashmolean Museum, National Galleries of Scotland, Newcastle University, Newcastle City Libraries, the Natural History Society of Northumbria, and the artists Paul Coldwell and Joanna Whittle complement the strengths of North East Museums’ collections.
r e l a t e d t a l k s
Wednesday, 19 November 2025, 1pm
Lizzie Jacklin | Watercolour Worlds: The Vignettes of J.M.W. Turner and Beatrix Potter
Wednesday, 28 January 2026, 1pm
Lizzie Jacklin | Curator Talk: Miniature Worlds
Wednesday, 4 February 2026, 1pm
Jenny Uglow | Bewick and Lear: Oddities of Daily Life
The Burlington Magazine, October 2025
The long 18th century in the October issue of The Burlington:
The Burlington Magazine 167 (October 2025)
Jean-Auguste-Dominique Ingres, Self-Portrait at the Age of Twenty-Four, 1804, revised 1850–51, oil on canvas, 77 × 61 cm (Musée Condé, Chantilly).
e d i t o r i a l
• “The Story of Art at 75,” p. 959.
Gombrich’s The Story of Art is seventy-five years old this year. Its clarity of conception and expression, civilised values, and the enormous benefits that have undoubtedly resulted from its publication should be a cause for continuing admiration and celebration.
a r t i c l e s
• Sylvain Bédard, “New Proposals about Ingres’s Self-Portrait at the Age of Twenty-Four,” pp. 982–93.
Of all the self-portraits painted by Jean-Auguste-Dominique Ingres, that of 1804 now in the Musée Condé, Chantilly, remains the most discussed. The focus of criticism when it was exhibited in 1806, the painting was taken up again and transformed by the artist during his old age. Here a revised sequence for these modifications is proposed and corrections are made to its earlier history.
• Emma Roodhouse, “Scraps of Genius, Taste and Skill: Works by John Constable in the Mason Album,” pp. 994–1001.
An album emerged at auction in 2020 and was acquired by Colchester and Ipswich Museums. It included hitherto unknown and very early works by John Constable and was compiled by the Mason family, the artist’s relatives in Colchester. These juvenilia are assessed here and placed in the context of Constable’s artistic evolution and his wide social circle.
• Edward Corp, “A Recently Identified Scottish Portrait of Bonnie Prince Charlie by Katherine Read,” pp. 1012–15.
There is a set of three portraits showing the exiled King James III (1701–66) and his two sons, Prince Charles Edward Stuart (1720–88) and Prince Henry Benedict Stuart, Cardinal Duke of York (1725–1807), which are here attributed to Katherine Read (1723–78) and were painted while she was living in Rome between 1750 and 1753. The paintings, which are all in a Somerset collection, have similar dimensions and are framed within painted stone ovals, which have chips and carvings; it seems evident that they were made to be displayed together.
r e v i e w s
• Hugh Doherty, Review of the exhibition catalogue La Rotonde de Saint-Bénigne: 1000 ans d’histoire, ed. by by Franck Abert, Arnaud Alexandre, and Christian Sapin (Faton, 2025), pp. 1033–35.
• Cloe Cavero de Carondelet, Review of the exhibition catalogue Tan lejos, tan cerca: Guadalupe de México en España, ed. by Jaime Cuadriello and Paula Mues Orts (Prado, 2025), pp. 1039–41.
• Elena Cooper, Review of Cristina Martinez and Cynthia Roman, eds., Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge: Cambridge University Press, 2024), pp. 1052–53.
• Clive Aslet, Review of Juliet Carey and Abigail Green, eds., Jewish Country Houses (Brandeis University Press, 2024), pp. 1056–57.
o b i t u a r y
• Colin Thom, Obituary for Andrew Saint (1957–2024), pp. 1059–60.
A longstanding editor for the Survey for London, an astute architectural scholar, and a personable educator, Andrew Saint effortlessly combined many skills. His time as a professor in the University of Cambridge’s Department of Architecture shaped numerous future careers, and his contributions to the Survey enriched the history of London’s urban fabric.
The Burlington Magazine, September 2025
Canaletto, Cappriccio: The Ponte della Pescaria and Buildings in the Quay, Showing Zecca on the Right, 1744(?), oil on canvas, 84 × 130 cm
(Royal Collection Trust, © His Majesty King Charles III 2025)
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The long 18th century in the September issue of The Burlington:
The Burlington Magazine 167 (September 2025) | Italian Art
a r t i c l e s
• Gregorio Astengo and Philip Steadman, “Canaletto’s Use of Drawings of Venetian Buildings by Antonio Visentini,” pp. 896–905.
The use by Canaletto of measured drawings by Antonio Visentini and his assistants is fully considered here for the first time. He ingeniously utilised them at different points in his career to provide images of buildings in both his ‘vedute’ and ‘capricci’. This creative borrowing was possible because both painters formed part of the same successful network of artists, scientists, and patrons.
r e v i e w s
• Philippe Bordes, Review of the exhibition Duplessis (1725–1802): The Art of Painting Life / L’art de peindre la vie (Inguimbertine, Carpentras, 2025), pp. 924–27.
• Colin Bailey, Review of Katie Scott and Hannah Williams, Artists’ Things: Rediscovering Lost Property from Eighteenth-Century France (Getty Research Institute, 2024), pp. 946–48.
• Karl-Georg Pfändtner, Review of Olivier Bosc and Sophie Guérinot, eds., L’Arsenal au fil des siècles: De l’hôtel du grand maître de l’Artillerie à la bibliothèque de l’Arsenal (Le Passage / BNF, 2024), pp. 951–52.
• Timothy Revell, Review of Lieke van Deinsen, Bert Schepers, Marjan Sterckx, Hans Vlieghe, and Bert Watteeuw, eds., Campaspe Talks Back: Women Who Made a Difference in Early Modern Art (Brepols: 2024), pp. 952–53.
• Jonathan Yarker, Review of Katherine Jean McHale, Ingenious Italians: Immigrant Artists in Eighteenth-Century Britain (Brepols, 2024, p. 953.
• Conal McCarthy, Review of Deidre Brown, Ngarino Ellis, and Jonathan Mane-Wheoki, Toi Te Mana: An Indigenous History of Māori Art (University of Chicago Press, 2025), pp. 953–54.
Exhibition | Collections-Collection
Open since July, the Musée de la Mode et du Costume is the latest cultural project by the Costa family, which owns the perfume company Fragonard (named for the 18th-century painter). The 18th-century mansion was restored by Paris-based Studio KO (as noted by The New York Times and The World of Interiors).
Collections-Collection
Musée de la Mode et du Costume, Arles, 6 July 2025 — 4 January 2026
Robe à la française, ca. 1785–90 (Musée de la Mode et du Costume).
After five years of renovations and restoration, the Musée de la Mode et du Costume (Museum of Fashion and Costume at the Hôtel Bouchaud de Bussy ) finally opens its doors. This exceptional venue invites the public to discover custom-designed exhibition spaces at the heart of the building, including a large gallery on the first floor.
For its first exhibition, Collections-Collection, the museum brings together two collections located at the extreme ends of Provence. This fusion lends exceptional richness to the celebration of the history of costume from the French Mediterranean region and the history of textiles. Through a chronological journey, this exhibition offers the public a comprehensive overview of fashion in Provence since the 18th century. Emblematic costumes and major pieces from the Costa and Pascal collections are finally taking their place in the display cases of this long-awaited new museum.
At the request of the Fragonard house, Charles Fréger created for the future Musée de la Mode et du Costume, the only permanent work, depicting Arlesiennes against the light. Between reality and imagination, this internationally renowned photographer devotes himself to groups of belonging and their external symbols. Insatiable, he travels the globe and produces series of flamboyant portraits that capture the individual in his environment and question the creation of archetypal figures. Between poetry and pictorial rigor, his work gives pride of place to the collective: whether in uniforms, work clothes, or colorful masquerade costumes.
Exhibition | Secret Maps
Opening today at the British Library:
Secret Maps
British Library, London, 24 October 2025 — 18 January 2026
Curated by Tom Harper, Nick Dykes, and Magdalena Peszko
Paul Sandby and William Roy, Great Map of Scotland, ca. 1755 (London: British Library, Maps CC.5.a.441).
Step into the shadows at Secret Maps, a major new exhibition revealing the stories hidden in some of history’s most mysterious maps. Maps have always been more than just tools for navigation—in the hand of governments, groups, and individuals, maps create and control knowledge. In Secret Maps, we trace the levels of power, coercion, and secrecy that lie behind maps from the 14th century to the present day, and uncover the invisible forces that draw and distort the world around us. Some of the maps on display reveal hidden landscapes, offering insight into places long forgotten or erased from official histories. Others are purposefully deceptive, designed to protect treasures, mask strategic locations, or reshape the way we see the world. This exhibition uncovers each of their individual secrets, revealing their hidden purposes and power.
Tom Harper, Nick Dykes, and Magdalena Peszko, Secret Maps: How They Conceal and Reveal the World (London: British Library Publishing, 2025), 256 pages, ISBN: 978-0712355643, £40.
Exhibition | Vanbrugh: The Drama of Architecture
Soane office, Royal Academy Lecture Drawings of the work of Sir John Vanbrugh, Blenheim Palace, elevation
(London: Sir John Soane’s Museum, SM 74/4/8)
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The exhibition opens in the spring; the book launches this fall:
Vanbrugh: The Drama of Architecture
Sir John Soane’s Museum, London, 4 March — 28 June 2026
Curated by Charles Saumarez Smith
300 years after his death, a major new exhibition exploring one of the UK’s greatest architects—Sir John Vanbrugh (1664–1726)—will open in the spring at Sir John Soane’s Museum. Some of the UK’s most admired and loved country houses like Blenheim Palace and Castle Howard were the result of Vanbrugh’s genius, becoming cornerstones of English Baroque. Soane cited him as one of his great influences, saying Vanbrugh had “all the fire and power of Michelangelo and Bernini.”
Curated by Sir Charles Saumarez Smith CBE and architect Roz Barr, the exhibition will feature never-before-exhibited drawings from the collections of the V&A, the Royal Institute of British Architects, the National Portrait Gallery, and Sir John Soane’s Museum, including many in Vanbrugh’s own hand. Perhaps overshadowed by contemporaries Nicholas Hawksmoor and Sir Christopher Wren, the emotional impact and imagination of Vanbrugh has continued to be admired, particularly by architects, in the centuries since. The exhibition will highlight Vanbrugh’s enduring architectural ideas and influence, including on two of the most influential architects of the 20th century, Robert Venturi (1925–2018) and Denise Scott Brown (b.1931). A new short film by filmmaker Jim Venturi, their son, will explore this connection and will be shown on loop in the Museum’s Foyle Space. Vanbrugh: The Drama of Architecture will introduce new audiences to the work of an English Baroque architect, adventurer, playwright, and spy 300 years after his death.
Charles Saumarez Smith, John Vanbrugh: The Drama of Architecture (London: Lund Humphries, 2025), 272 pages, ISBN: 978-1848227316, £30.
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Book tickets at Wigmore Hall:
Book launch | John Vanbrugh: The Drama of Architecture
The Wigmore Hall, London, 20 November 2025, 12.30pm
Charles Saumarez Smith will give a lunchtime talk on Vanbrugh’s extraordinary life: his upbringing; why he spent so much time in a French gaol; the writing of The Relapse and The Provoked Wife; and how he came to design Castle Howard with no previous experience of architecture. Saumarez Smith will give particular attention to Vanbrugh’s work as a theatrical impresario and the designer of the Queen’s Theatre, Haymarket, so disastrous as a venue for plays, but where all of Handel’s early operas were performed. He will then describe Vanbrugh’s quarrel with the Duchess of Marlborough and his later work as an architect, at King’s Weston, Claremont, Grimsthorpe, Seaton Delaval, and Stowe. In recent years, Vanbrugh’s reputation as an architect has been eclipsed by his subordinate, Nicholas Hawksmoor. This talk and the accompanying book will explain Vanbrugh’s originality and influence on later architects from Robert Adam to Robert Venturi and Denise Scott Brown.
Exhibition | Egypt: Influencing British Design, 1775–2025
George Dance, Front Elevation of a Library Chimney-piece for the 1st Marquess of Lansdowne, Lansdowne House, Berkeley Square, Westminster, ca. 1788–94; pen, sepia, raw umber, and crimson washes, shaded on laid paper laid down on (old) board with double-ruled border (London: Sir John Soane’s Museum, SM D3/3/3).
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Now on view at The Soane:
Egypt: Influencing British Design, 1775–2025
Sir John Soane’s Museum, London, 8 October 2025 — 18 January 2026
The mystery, romance, and aesthetic appeal of ancient Egypt has informed richly decorated Regency homes, Victorian factories and cemeteries, Art Deco cinemas, and twentieth-century houses, shops, and offices. This exhibition explores the British fascination with all things Egyptian through evocative drawings and books owned by Soane. Decorative objects including Wedgwood ceramics, Liberty Fabrics, and an Egyptian-style Singer sewing machine demonstrate the range of ways people have brought Egypt into their homes from Soane’s time to today.
This exhibition is accompanied by new work by Cairo-born artist Sara Sallam. As part of this exhibition, Sallam has produced A Tourist Handbook for Egypt outside of Egypt, Vol. II, London. Displayed in the Foyle Space in large scale, Sallam’s collages juxtapose photographs of London’s commemorative statues and imperial architecture with nineteenth-century paintings of correlating events in Egypt. Copies are available for purchase from the museum shop. Sallam’s second work, Eyes that Weep, Eyes that Pierce, is an audio tour, available exclusively on Bloomberg Connects, inspired by the sarcophagus of Seti I. Sallam invites you to listen closely to the Egyptian sky goddess Nut (seen inside the sarcophagus), her voice tracing the many eyes that have peered into Seti I’s sarcophagus across time.
Exhibition | Mary Linwood: Art, Stitch and Life
Mary Linwood, Pomeranian Dog, detail, needlework, 68 × 86 cm
(Leicester Museum & Art Gallery)
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Now on view, as noted by Adam Busiakiewicz for the Art History News blog:
Mary Linwood: Art, Stitch, and Life
Leicester Museum & Art Gallery, 13 September 2025 — 22 February 2026
A retrospective of the Leicester textile artist Mary Linwood (1755–1845)
Leicester’s Mary Linwood was a celebrity artist in the early 1800s but has since been largely forgotten. She created detailed embroidered versions of famous British paintings using a technique known as needle painting. Linwood was not only a talented artist but also an innovator and entrepreneur. Alongside running a successful school for young ladies in Leicester, she exhibited her embroidered works in touring exhibitions and established the first gallery in London to be run by a woman. In her lifetime, Linwood was supported by the wealthy and powerful, and was widely respected and well known. Since her death, however, she has been overlooked and undervalued. This exhibition is the first retrospective of Mary Linwood’s work since 1945, featuring 14 embroidered works from the Leicester Museums collections. Alongside these historic pieces are new textile artworks by Ruth Singer, reflecting on Linwood’s life and legacy.
Ruth Singer, Lost Threads: Mary Linwood’s Legacy (2025), 60 pages, £15. Available for purchase here.
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It’s also a fine opportunity to remind readers of Heidi Strobel’s recent book, The Art of Mary Linwood: Embroidery, Installation, and Entrepreneurship in Britain, 1787–1845. –CH
Exhibitions | Casanova and Venice / Casanova and Europe
Francesco Guardi, View of San Giorgio Maggiore
(Venice: Fondazione Giorgio Cini)
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From the Fondazione Giorgio Cini:
Casanova and Venice
Palazzo Cini, Venice, 27 September 2025 — 2 March 2026
Casanova and Europe: An Opera in Multiple Acts
San Giorgio Maggiore, Venice, 17 October 2025 – 2 March 2026
On the 300th anniversary of the birth of Giacomo Casanova (1725–1798), the Fondazione Giorgio Cini is dedicating a major exhibition and cultural project to the celebrated Venetian. The first chapter of the double exhibition opens at Palazzo Cini in San Vio on September 27. Curated by the Institute of Art History, with the participation of the Institute for Theater and Opera, the exhibition traces the multifaceted figure of Casanova—scholar, memoirist, philosopher, alchemist, traveler, and diplomat—throughout a restless century that ended with the fall of the Serenissima. Through nearly one hundred works including paintings, engravings, books, objets d’art, and documents from the Foundation’s collections and prestigious Italian and European institutions, the exhibition recounts the refined, cultured, and contradictory world of the Venetian 18th century—Casanova’s century.
The exhibition is part of a wider cultural program involving all the Fondazione Giorgio Cini institutions, with conferences, concerts, and seminars dedicated to the link between Casanova, Venice, and Europe. The aim is to present a complex and multidisciplinary portrait of one of the most iconic figures in the history of Venice, who was a central figure during the final century of the Serenissima’s existence. The Foundation celebrates the European spirit embodied by Casanova.
“The project dedicated to Casanova is an opportunity to highlight the deep connection between the Fondazione Giorgio Cini and the city, its history, and its cultural context, drawing inspiration,” explains President Gianfelice Rocca, “from the great personalities and significant themes that have shaped history. It is an opportunity to emphasise the expertise, research, and collaboration between the Foundation’s Institutes and Centres in an international context. The Foundation’s vocation is to be an active participant, through this and other events, in the global stage of dialogue based on cultural diplomacy as a useful and necessary tool to respond to an era like ours, in which cultures and civilisations risk becoming enemies, unable to listen to, understand, and collaborate with each other.”
The Scientific Director, Daniele Franco, emphasises, “Fondazione Giorgio Cini is working to propose a reading of Casanova that goes beyond the usual imagery, the ‘myth’ that has become entrenched in traditional interpretations surrounding him. The primary aim is to highlight a complex character, a man who, from Venice, travels throughout Europe, in a historical period of rapid cultural and political change, where a vision of European society begins to emerge, one that is permeated by uncertainties, tensions, and an increasingly open and complex cultural debate. In Casanova’s writings, we can find many of the contradictions and forces for change that Europe is grappling with today.”
• Casanova e Venezia, at Palazzo Cini (27 September 2025 – 2 March 2026) with a focus on Venice, the birthplace and the first stage of Casanova’s life.
• Casanova e l’Europa: Opera in più atti, on the island of San Giorgio Maggiore (17 October 2025 – 2 March 2026), a look at Europe and the network of travels, relationships, and adventures that made Casanova an ante litteram European figure. The exhibition is produced in collaboration for the staging with the Fondazione Teatro La Fenice.
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Note (added 2 November 2025) — The press release for Casanova e l’Europa: Opera in più atti is available here.
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