Exhibition | From Pencil to Burin: Drawings for Printmaking
Left: Manuel Salvador Carmona, Drawing of François Boucher (after Alexander Roslin), detail, 1760–61, black and red chalk (Madrid: Museo Nacional del Prado D658). Right: Manuel Salvador Carmona, Print of François Boucher (after Alexander Roslin), detail, 1761, etching and engraving (Madrid: Museo Nacional del Prado G2693). The original source was Roslin’s painted portrait of Boucher, now at Versailles; Salvador Carmona was admitted to the Académie Royale de Peinture et de Sculpture as an engraver on the basis of this print; it includes the inscription, “Gravé par Manuel Salvador Carmona pour sa reception à l’Academie en 1761.”
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From the press release (16 October 2023) for the exhibition:
From Pencil to Burin: Drawings for Printmaking in Goya’s Day
Museo Nacional del Prado, Madrid, 17 October 2023 — 14 January 2024
Curated by José Manuel Matilla and Ana Hernández Pugh
Until 14 January in Room D of the Jerónimos Building, the Museo del Prado presents the exhibition From Pencil to Burin: Drawings for Printmaking in Goya’s Day. It comprises a selection of 80 prints and drawings revealing the important role of these designs in the creation of intaglio prints in Spain from the mid-18th to the early 19th centuries. The exhibition includes works by a number of artists, while focusing on two key figures for the development of printmaking: Manuel Salvador Carmona (1734–1820), the artist possessed of the greatest technical command of engraving in Spain, and Francisco de Goya (1746–1828), whose remarkable artistic powers and particular understanding of etching opened up new directions in artistic creation.
Curated by José Manuel Matilla, Chief Curator of Prints and Drawings at the Prado, and Ana Hernández Pugh, author of the 2023 catalogue raisonné of Manuel Salvador Carmona’s drawings, the exhibition presents a survey of drawings made as preparatory designs for engravings, emphasizing both their functional and artistic importance. Visitors can see the techniques employed to transpose a composition to a copperplate, thus revealing how preparatory drawings played a significant role in the engraver’s understanding of the work.
The training of qualified draughtsmen and engravers in the second half of the 18th century allowed for the illustration of the texts that disseminated Enlightenment thought. While the prints of this period are well known, the preparatory drawings that acted as their starting point have been relegated to a secondary position in the history of art due to their functional nature. It was, however, the drawings that defined the compositions which were subsequently reproduced on copperplates with absolute precision and fidelity. The exhibition thus reveals a much broader artistic context, articulated around concepts that define the uses and techniques of prints to analyse different phases of the creative process. It shows the diversity of the phases and states through which an intaglio engraver had to pass in order to complete a work. Overall, the exhibition aims to reveal that it was only on the basis of a high quality drawing that a good print could be obtained.
José Manuel Matilla, Ana Hernández Pugh, Gloria Solache Vilela, and Sergio García, Del lapicero al buril: El dibujo para grabar en tiempos de Goya (Madrid: Museo Nacional del Prado, 2023), 264 pages, ISBN: 978-8484806066, €35.
The digital brochure (in English) is available here»
Installation view of the exhibition From Pencil to Burin: Drawings for Printmaking in Goya’s Day (Museo Nacional del Prado, 2023). The freestanding wall presents the first section of the show, “The Drawing and the Printmaker’s Image.”
Exhibition | Claude Gillot
Claude Gillot, Scène de la comédie italienne: Une pantomime, pen and ink with red chalk wash and graphite drawing, 16 × 22 cm
(Paris: Musée du Louvre, INV 26748)
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300 years after his death, Gillot (1673–1722) was the subject of a spring show at The Morgan and a related symposium; a second exhibition opens next month at the Louvre:
Claude Gillot
Musée du Louvre, Paris, 9 November 2023 – 26 February 2024
Organized by Hélène Meyer and Xavier Salmon
A draughtsman and printmaker in the last years of the Grand Siècle, Claude Gillot is known for the inventiveness and originality of his works, heralding the freedom of expression and mores of the Régence period (1715–1723). With his parodies, witchcraft scenes, farces, and fairground improvisations, he is an artist known for satire, comedy, and performing arts. His countless drawings, coveted by collectors, nevertheless attest to extensive activity in a broad range of fields: illustration, theatre and opera, costume, and interior decoration. At the core of his work, a rich corpus of drawings illustrates his penchant for the comedy of the Comédie Italienne (Italian companies performing in France), with its pantomimes, acrobatics, and cross-dressing figures. A costume and set designer for the Paris Opera starting in 1712, Gillot was also a sought-after decorator, notably collaborating with Claude Audran III on private interiors and reinventing arabesque painting in the process.
Xavier Salmon, Hélène Meyer, and Jennifer Tonkovitch, Claude Gillot (1673–1722): Comédies, Fables, et Arabesques (Paris: Lienart, with the Musée du Louvre, 2023), ISBN: 978-2359064124, €32.
Exhibition | Dutch Art in a Global Age
Now on view at the NC Museum of Art and arriving at the Kimbell in the fall of 2024:
Dutch Art in a Global Age: Masterpieces from the Museum of Fine Arts, Boston
North Carolina Museum of Art, Raleigh, 16 September 2023 — 7 January 2024
Kimbell Art Museum, Fort Worth, 10 November 2024 — 9 February 2025
Jan van Huysum, Flowers in a Terracotta Vase, 1730, oil on panel, 80 × 61 cm (Museum of Fine Arts, Boston. Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, L-R 13.2019).
In the seventeenth century, Dutch merchants sailed across seas and oceans, joining trade networks that stretched from Asia to the Americas and Africa. This unprecedented movement of goods, ideas, and people gave rise to what many consider the first age of globalization and sparked an artistic boom in the Netherlands.
Dutch Art in a Global Age brings together paintings by Rembrandt, Frans Hals, Gerrit Dou, Jacob van Ruisdael, Maria Schalcken, Rachel Ruysch, and other celebrated artists from the Museum of Fine Arts, Boston’s renowned collection. These are joined by prints, maps, and stunning decorative objects in silver, porcelain, glass, and more, from the seventeenth and the first half of the eighteenth centuries. Exploring how Dutch dominance in international commerce transformed life in the Netherlands and created an extraordinary cultural flourishing, the exhibition also includes new scholarship that contextualizes seventeenth-century Dutch art within the complex histories of colonial expansion, wealth disparity, and the transatlantic slave trade during this period.
Christopher D.M. Atkins, ed., Dutch Art in a Global Age (Boston: MFA Publications, 2023), 224 pages, ISBN: 978-0878468911, £54 / $60. With text by Christopher Atkins, Pepijn Brandon, Simona Di Nepi, Stephanie Dickey, Michele Frederick, Hanneke Grootenboer, Katherine Harper, Courtney Leigh Harris, Mary Hicks, Anna Knaap, Rhona MacBeth, Katrina Newbury, Christine Storti, Gerri Strickler, Claudia Swan, Jeroen van der Vliet, and Benjamin Weiss.
Online Conversation | The Van de Veldes at the Queen’s House
In connection with the exhibition at Greenwich; from The Warburg Institute:
Curatorial Conversation | The Van de Veldes at the Queen’s House, Greenwich
Online, 17 October 2023, 5.30pm
Curators Allison Goudie and Imogen Tedbury in conversation with Bill Sherman (Warburg Institute Director) and Gregory Perry (CEO, Association for Art History)
For almost 20 years in the late 17th century the Queen’s House at Greenwich was the studio address of the marine painters Willem van de Velde the Elder (1610/11–1693) and his son, Willem the Younger (1633–1707). Although the building itself bears little trace of the Van de Veldes’ presence, in the 20th century the Queen’s House once again became a home for their work, as the dedicated art gallery of the National Maritime Museum, custodian of the world’s largest collection of works by the Van de Veldes. Spanning scores of oil and pen paintings, a tapestry, and some 1,500 drawings, the collection is unique in what it can tell us about how a 17th-century artist’s studio functioned. The physical evidence provided by this collection proved invaluable for the evocation of the Van de Velde studio that forms a centrepiece of the current exhibition, The Van de Veldes: Greenwich, Art, and the Sea, marking 350 years since the Van de Veldes moved to England from the Dutch Republic. Showcasing major conservation projects on important works in the Greenwich collection that have their origin point in the Queen’s House studio, and notwithstanding a select number very generous loans, the exhibition was also a pragmatic solution to some of the challenges facing museums as they emerged from Covid, particularly how to make an event out of a permanent collection.
Online attendance is free, with advanced booking available here»
Allison Goudie is Curator of Art (pre-1800) at Royal Museums Greenwich. Before coming to Greenwich, she was Curator of Kenwood House and previously held curatorial positions at the National Gallery and the National Trust. She completed her PhD on the subject of royal portraiture during the Revolutionary and Napoleonic wars at the University of Oxford in 2014. She is the recipient of a Getty Paper Project grant to bring to life the collection of Van de Velde drawings at Greenwich and is leading on RMG’s programme in 2023 marking 350 years since the Van de Veldes arrived in England, the centrepiece of which is the exhibition in the Queen’s House co-curated with Imogen Tedbury.
Imogen Tedbury is an art historian and curator. She has held curatorial positions at Royal Holloway, University of London, the National Gallery, London, and the Queen’s House, Royal Museums Greenwich, where she was the co-curator of The Van de Veldes: Greenwich, Art, and the Sea. Her PhD (2018) explored the reception of Sienese painting, and her research has been supported by fellowships and grants from the Getty Research Institute, the Metropolitan Museum of Art, the Paul Mellon Centre, and the Warburg Institute. She is currently undertaking research for the early Italian paintings catalogue of the Norton Simon Museum.
This event is organised by the Association for Art History in conjunction with The Warburg Institute, University of London. Curatorial Conversations invites museum directors and makers of recent exhibitions at world-leading museums and galleries to the Warburg to discuss their work. The conversations, led by academics at the Warburg Institute, discuss the issues of setting the directorial or curatorial agenda and staging meaningful encounters with objects. The series is designed to draw out discussion of the discoveries made, challenges tackled and the lessons learned in heading a collection and putting together internationally renowned exhibitions.
Exhibition | Seeing the Light: Turner’s Discovery of Italy in 1819
Left: J. M. W. Turner, The Roman Campagna from Monte Testaccio, Sunset, 1819, gouache, graphite, and watercolour on paper, 25 × 40 cm
(London: Tate, accepted by the nation as part of the Turner Bequest 1856, D16131).
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Closing this month at Turner’s House:
Seeing the Light: Turner’s Discovery of Italy in 1819
Turner’s House, Twickenham, 7 July — 29 October 2023
In the summer of 1819, the landscape artist J.M.W. Turner (1775–1851) set off on a journey to Italy that would have a profound impact on his life and work. Visitors to Turner’s House will be able to enjoy an exhibition of evocative watercolours capturing some of the painter’s first impressions of the place he was to later call the “land of all bliss,” and which provided inspiration for the rest of his career. Seeing the Light provides an exciting opportunity for the public to see some of Italy’s most well known and loved sites—Venice, Rome, Naples—through Turner’s eyes, in the unique setting of his then rural retreat in Twickenham. Visitors to this tightly-focussed exhibition will also be able to appreciate Turner’s evolving use of colour and light before and after 1819, thanks to generous loans from Tate, the Guildhall Art Gallery, and a private collection.
Exhibition | Hub of the World: Art in 18th-Century Rome
Gaspar van Wittel, known as Vanvitelli, The ‘Casino’ of Cardinal Annibale Albani on the Via Aurelia, 1719, oil on canvas, 74 × 135 cm
(Private Collection, United Kingdom)
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From the press release (via Art Daily) for the exhibition:
Hub of the World: Art in 18th-Century Rome
Nicholas Hall Gallery, New York, 6 October — 30 November 2023
This fall, Nicholas Hall presents Hub of the World: Art in 18th-Century Rome, organized in association with the Milanese Galleria Carlo Orsi. Presented at the Upper East Side gallery in New York, the exhibition celebrates the legacy of esteemed American scholar, connoisseur, and artist Anthony M. Clark (1923–1976), who would have turned 100 this year.
Pompeo Batoni, Saint Louis Gonzaga, ca. 1744, oil on canvas, oval, in an 18th-century frame, 81 × 67 cm (Private Collection, NY).
Considered one of the most influential and admired museum professionals of his generation, Clark made a profound impact on American collecting trends in the 1950s and 1960s through his taste for art made in 18th-century Rome, especially the paintings of the Pompeo Batoni. The exhibition brings together more than 60 works by artists who lived in or traveled to Rome in the 18th century, along with a selection of Clark’s personal notebooks and a portrait photograph on loan from the National Gallery of Art in Washington, DC.
After graduating from Harvard, Clark began his career in 1955 at the Rhode Island School of Design before going on to prominent curatorial roles at the National Gallery of Art, the Metropolitan Museum of Art, and the Minneapolis Institute of Arts, of which he later became director. He also taught art history at the Institute of Fine Arts, NYU and at Williams College, Williamstown. During his tenure at Mia and The Met, Clark made significant acquisitions for the institutions and organized world-class exhibitions as a pioneering American scholar of 18th-century Rome.
The Hub of the World brings to light the fundamental role Clark played in the revival of interest among American museums in collecting work from this period. Clark deeply believed in the importance of Roman Settecento painting, drawing, and sculpture, and this passion is brilliantly reflected in his scholarship and writings. As a curator, he consistently created a historic context for art by showing sculpture and decorative arts alongside paintings and drawings at a time when it was customary to maintain a ‘hierarchy’ of the arts by studying and displaying the mediums separately.
Domenico Corvi, The Liberation of Saint Peter, 1770, oil on canvas, 63 × 49 cm (Private Collection, Paris).
Tragically Clark succumbed to a heart attack at age 53 while jogging in his favorite city, where, at the time, he was a fellow at the American Academy in Rome. Born in Philadelphia, Clark worked closely with curators at the Philadelphia Museum of Art over the course of his career; and, in 2000, the PMA—in partnership with the Museum of Fine Arts, Houston—mounted The Splendor of 18th-Century Rome, which was dedicated to his memory.
In the words of Nicholas Hall: “Anthony Clark was a larger-than-life character who changed the way we look at Old Masters. He rescued the art of 18th-century Rome from obscurity by dint of his own personal enthusiasm and brilliant scholarship. He had enormous personal charm: the son of the owner of two works in the exhibition remembers how, as a boy, he enjoyed Clark’s visits to see his parents. Clark, an avid ornithologist, later bequeathed to him a stuffed Green Woodpecker. Our exhibition is an homage to a great scholar, a tastemaker, and a dedicated museum professional.”
Hub of the World highlights the richness of the culture of 18th-century Rome with its extraordinary mixture of patronage, from popes and cardinals, to Roman aristocrats and visiting foreigners—including the German writer and poet Johann Wolfgang von Goethe, from whom the exhibition borrows its title. Goethe deemed Rome the “hub of the world,” writing that “the entire history of the world is linked up with this city.” Hall and Orsi have gathered a diverse selection of paintings, drawings, sculpture, and decorative arts that will provide a rare opportunity to experience the cosmopolitan appeal of 18th-century Rome.
Hubert Robert, Colonnade and Gardens at the Villa Medici, 1759, oil on canvas, 75 × 64 cm (Assadour O. Tavitian Trust).
Headlining the exhibition is View of the Villa Medici by Hubert Robert (1733–1808), painted in 1759 during the artist’s transformative time in Rome and on loan from the Assadour O. Tavitian Trust. A recent discovery, the exceptional work has rarely been on view to the public—previously only exhibited in the U.S. briefly at the National Gallery of Art. Other works on view include the Hemp Harvest in Caserta, executed by Jackob Philipp Hackert for the King of Naples; a portrait of the Cardinal Carlo Rezzonico by Anton Raphael Mengs that remained in the sitter’s family until the last decade; a unique view of the Villa Albani by Vanvitelli, recorded in the inventory of Cardinal Albani; a pair of oil on coppers by Angelika Kauffmann based on James Thomson’s pastoral poetry that newly resurfaced from a private Kenyan collection; a caricature painting by Joshua Reynolds, recently discovered at the estate where it has hung for over two centuries; A Vestal by Jacques-Louis David painted in Rome; a harbor scene painted on copper by Claude Joseph Vernet; Anton von Maron’s Portrait of Two English Gentlemen before the Arch of Constantine; the Rockingham Silenus, a 1st-century sculpture reworked by the celebrated Roman sculptor Bartolomeo Cavaceppi; a set of candelabras in the form of Antonius-Osirus by Luigi Valadier; and a console table designed by Antonio Asprucci, made for the Egyptian Room of the Palazzo Borghese. The exhibition pays tribute to Clark as an expert on Pompeo Batoni, as represented by a painting of Saint Louis Gonzaga and its preparatory drawing in red chalk, among several other works. Once belonging to Clark, a painting of the artist Paolo de Matteis by Pier Leone Ghezzi will also be showcased.
In conjunction with the exhibition, Nicholas Hall and Galleria Carlo Orsi will publish a fully illustrated catalogue with original essays by Italian art experts and renowned historians Edgar Peters Bowron, Alvar Gonzáles-Palacios, Melissa Beck Lemke, and J. Patrice Marandel.
Pier Leone Ghezzi, Four Samples of Classical Polychrome Marbles, 1726, watercolor on paper; from top left clockwise: ‘Diaspro Verde Fiorito, 16 × 21 cm, ‘Bianco e negro antico’, 19 × 24 cm, ‘Broccatello’, 19 × 21 cm, ‘Alabastro Orientale’, 19 × 23 cm (Private Collection, Italy). To be published by Dr. Adriano Aymonino in his upcoming book from MIT press, Paper Marbles: Pier Leone Ghezzi’s Studio di Molte Pietre (1726).
Talk and Exhibition | The Jews, the Medici, and the Ghetto of Florence
From the Medici Archive Project (MAP):
Piergabriele Mancuso and Alice S. Legé | The Jews, the Medici, and the Ghetto of Florence: History and Challenges of an Exhibition
Online, The Medici Archive Project, 10 October 2023, 5pm (EDT)
Ketubah (Marriage Contract), 1739 (Archivio di Stato di Firenze)
The exhibition The Jews, the Medici, and the Ghetto of Florence (Gli ebrei, i Medici, e il Ghetto di Firenze)—on view from 23 October 2023 until 20 January 2024 at the Palazzo Pitti—offers a comprehensive exploration of a relatively understudied aspect of the Medici and Jewish history. Delving into the intricate evolution of the Florentine Ghetto, the exhibition traces the site’s history from its establishment under the Grand Duke Cosimo I de’ Medici in 1570 to its eventual dissolution in the 19th century. Visitors will see a rich array of artifacts, including illuminated manuscripts, paintings, archival documents, photographs, maps, and sculptures. These items provide insights into the complex relationship between the Jewish community and the Grand Duchy of Tuscany.
This talk by the exhibition’s curators will focus on the creation of the exhibition, prompting important inquiries into topics such as segregation, protective measures, urban integration, and the invaluable cultural contributions made by the Jewish populace during the Florentine Renaissance.
To watch this talk, click here on Tuesday, 10 October, at 5pm (EDT).
The Burlington Magazine, September 2023
The eighteenth century in the September issue of The Burlington:
The Burlington Magazine 165 (September 2023)
Bed, by Ince and Mayhew, 1768, mahogany and other woods, with original blue silk ‘flowered tabby’ in the ‘Large Antique Headboard’, tester and cornice, height 356 cm (Stamford: The Burghley House Collection).
a r t i c l e r e v i e w
• Lucy Wood, “The Industry and Ingenuity of William Ince and John Mayhew,” pp. 996–1001.
Fifty years ago, the question was asked what had become of the furniture made by Ince and Mayhew, one of the most successful and long-lasting firms of cabinetmakers in eighteenth-century London? A monograph by Hugh Roberts and Charles Cator, decades in the making, provides the answer in a revelatory picture of the achievements of these rivals of Thomas Chippendale.
r e v i e w s
• Christoph Martin Vogtherr, Review of the exhibition Rosalba Carriera – Perfection in Pastel (Gemäldegalerie Alte Meister, Zwinger, Dresden, 2023), pp. 1007–10.
• Christopher Baker, Review of the Redevelopment of the National Portrait Gallery, London (reopened in June 2023), pp. 1013–17.
• Raha Shahidi, Review of the exhibition catalogue L’Amour en scène! François Boucher, du théâtre à l’opéra, ed. by Hélène Jagot, Jessica Degain, and Guillaume Kzerouni (Éditions Snoeck, 2022), pp. 1029–31.
• Christopher Rowell, Review of Tessa Murdoch, ed., Great Irish Households: Inventories from the Long Eighteenth Century (John Adamson, 2022) and Conor Lucey, ed., House and Home in Georgian Ireland: Spaces and Cultures of Domestic Life (Four Courts Press, 2022), pp. 1038–40.
• Armin Kunz, Review of Mareike Hennig and Neela Struck, eds., Zeichnen im Zeitalter Goethes: Zeichnungen und Aquarelle aus dem Freien Deutschen Hochstift (Hirmer, 2022), pp. 1040–42.
Sewell Bequest, 2008,3008.1). Room 18 of the National Portrait Gallery, London, showing the newly acquired Portrait of Mai (Omai) by Joshua Reynolds (c. 1776) as the centrepiece of a group of eighteenth-century portraits (Photography by Dave Parry).
Exhibition | Fantastic Animals
Now on view at Lens:
Fantastic Animals / Animaux Fantastiques
Musée du Louvre-Lens, 27 September 2023 — 15 January 2024
Curated by Hélène Bouillon, with Jeanne-Thérèse Bontinck, Caroline Tureck, and Yaël Pignol
Johann Heinrich Füssli (Fuseli), Thor Fighting the Midgard Serpent, 1790, oil on canvas (London: Royal Academy of Arts).
Dragons, griffins, sphinxes, unicorns, phoenixes: present as early as Antiquity, fantastic animals inhabit the tiniest recesses of our contemporary world, from films and cartoons to everyday objects. By turns images of terror or admiration, expressions of our hidden unconscious and our anxieties, these often hybrid creatures contain within them a fundamental ambiguity. Who are they? Where do they come from? What do they mean?
They share with real fauna the power to fascinate people. We confer on them a closeness to nature, a wildness mingled with wisdom. Yet these are no ordinary animals. They differ in their appearance. Gigantic, excessive and deformed, their bodies adopt the characteristics of several animals, such as a horse’s body with the wings of a bird or an eagle with a lion’s head. This extraordinary physiognomy is a reflection of their supernatural powers. Fantastic animals embody the elementary forces of nature: stormy waters and choleric gusts of wind, as well as tranquil streams and the nourishing earth. They represent their immensity, their violence, their beauty, and above all their excesses. Some of them have a face and hands and legs, which link them to the world of humans while evoking distance and danger.
Featuring more than 250 works—sculptures, paintings, and objets d’art, as well as films and music—from Antiquity to the present day, the exhibition offers a journey through time and space, retracing the history of the most famous of these animals through their legends, their powers, and their habitats. It explores our passionate relationships with these creatures whose unreal presence seems more than ever necessary.
Hélène Bouillon, ed., Animaux fantastiques: Du merveilleux dans l’art (Ghent: Snoeck Publishers, 2023), 400 pages, ISBN: 978-9461617873, €39.
Exhibition | Liotard and The Lavergne Family Breakfast
The exhibition opens this fall at The National Gallery (with the press release available here) . . .
Discover Liotard and The Lavergne Family Breakfast
The National Gallery, London, 16 November 2023 — 3 March 2024
In the second of our ‘Discover’ exhibitions, which explore well-known paintings through a contemporary lens, we reunite for the first time in 250 years Swiss painter Jean-Étienne Liotard’s pastel and oil versions of The Lavergne Family Breakfast. With the pastel and oil works side by side, the exhibition presents a rare opportunity to compare the difference in technique and effect between the two.
Jean-Etienne Liotard, The Lavergne Family Breakfast, 1754, pastel on paper stuck down on canvas, 80 × 106 cm (London: National Gallery, accepted in lieu of Inheritance Tax by HM Government from the estate of George Pinto, 2019, NG6685).
Long regarded as Liotard’s masterpiece, The Lavergne Family Breakfast (executed in Lyon in 1754) is the artist’s largest and most ambitious work in pastel. Despite the medium’s notorious delicacy, Liotard skilfully reproduced complex textures: the sheen on the metal coffee pot, the shiny ceramic jug, the silky fabrics and reflections, in the black lacquer tray. Liotard was extremely versatile, producing works in pastel, oil, enamel, chalk, and even on glass. Highly unusually, he returned to The Lavergne Family Breakfast 20 years later to make an exact replica in oil.
Liotard (1702–1789) worked across the length and breadth of 18th-century Europe. Following four years in Constantinople, he grew a long beard, adopted Turkish dress, and nicknamed himself ‘the Turkish painter’. The exhibition showcases the raw materials used to make pastels as well as drawings, paintings, and miniatures that seek to bring this idiosyncratic artist to life.
Francesca Whitlum-Cooper, with contributions by Iris Moon, Discover Liotard & The Lavergne Family Breakfast (New Haven: Yale University Press, 2024), 120 pages, ISBN: 978-1857097023, $20.
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