Enfilade

The Burlington Magazine, October 2017

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on October 27, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (October 2017)

A R T I C L E S

• Gauvin Alexander Bailey, “Rococo in Eighteenth-Century Beijing: Ornament Prints and the Design of the European Palaces at Yuanming Yuan,” pp. 778–88.
• J. P. Losty, “Eighteenth-Century Mughal Paintings from the Swinton Collection,” pp. 789–99.

R E V I E W S

• Rose Kerr, Review of John Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen (Royal Collection Trust, 2016), pp. 822–23.
• Marjorie Trusted, Review of Alan Chong, ed., Christianity in Asia: Sacred Art and Visual Splendour (Asian Civilizations Museum, 2016), pp. 823–24.
• Milo Beach, Review of Terence McInerney, Divine Pleasures: Painting from India’s Rajput Courts: The Kronos Collections (The Metropolitan Museum of Art, 2016), pp. 824–25.
• Aida Yuen Wong, Review of Petra ten-Doesschate Chu and Ning Ding, eds., Qing Encounters: Artistic Exchanges Between China and the West (Getty Publications, 2015), p. 826.
• David Bindman, Review of Elizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings (The Paul Mellon Centre for Studies in British Art, 2016), pp. 827–29.
• Robert O’Byrne, Review of Mark Clark, The Dublin Civic Portrait Collection: Patronage, Politics, and Patriotism, 1603–2013 (Four Courts Press, 2016), p. 832.
• Charles Beddington, Review of the exhibition Eyewitness Views: Making History in Eighteenth-Century Europe (The Getty Center, Los Angeles, 2017; Minneapolis Institute of Art, 2017; and The Cleveland Museum of Art, 2018), pp. 856–58.

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Print Quarterly, September 2017

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on August 20, 2017

The eighteenth century in the current issue of Print Quarterly:

John Baptist Jackson, Lamentation over the Body of Christ, ca. 1740–44, woodcut with embossing (London: The British Museum).

Print Quarterly 34.3 (September 2017)

A R T I C L E S
• Evelyn Wöldicke, “John Baptist Jackson’s Woodcuts and the Question of Embossing,” pp. 298–310.
• Freyda Spira, “Micrographic Allegories by Johann Michael Püchler and Matthias Buchinger,” pp. 310–16.

R E V I E W S
• Adriano Aymonino, Review of the exhibition catalogue, Maria Rosaria Nappi, ed., Immagini per il Grand Tour: L’attività della Stamperia Reale Borbonica (Edizioni Scientifiche Italiane, 2015), pp. 328–31.
• Rolf Reichardt, Review of Philippe de Carbonnières, La Grande Aarmée de papier: Caricatures napoléoniennes (Presses Universitaires de Rouen et du Havre, 2015), pp. 331–33.
• Perrin Stein, Review of Kristel Smentek, Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (Ashgate, 2014), pp. 340–44.

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The Burlington Magazine, August 2017

Posted in books, catalogues, exhibitions, journal articles, obituaries, reviews by Editor on August 11, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (August 2017)

E D I T O R I A L

• “Reflected Glory: University Art Collections in Britain,” p. 599.

O B I T U A R I E S

• Simon Jervis, “Rudolf Hermann Wackernagel (1933–2017),” p. 639. His great article, “Carlton House Mews: The State Coach of the Prince of Wales and of the Later Kings of Hanover, A Study in the Late-Eighteenth-Century ‘Mystery’ of Coach-Building, in Furniture History 31 (1995) remains the most authoritative statement on London coach building in the late eighteenth century. But his crowning achievement was the massive two-volume Staats- und Galawagen der Wittelsbacher (Stuttgart, 2002). This is a catalogue of the wonderful collection of the Marstallmuseum at Schloss Nymphenburg, outside Munich, where he generously deposited part of his own extensive and systematic archive on coaches and carriages…

R E V I E W S

• Gauvin Alexander Bailey, Review of Christine Casey, Making Magnificence: Architects, Stuccatori and the Eighteenth-Century Interior (Yale University Press, 2017), pp. 642–43.
• Ayla Lepine, Review of Julian Holder and Elizabeth McKellar, eds., Neo-Georgian Architecture, 1880–1970: A Reappraisal (Historic England, 2016), pp. 643–44.
• Michael Hall, Review of Pauline Prévost-Marcilhacy, ed., Les Rothschild: une dynastie de mécènes en France, 1873–2016 (Somogy éditions d’Art, 2016), pp. 644–46.
• Francis Russell, Review of the exhibition Canaletto and the Art of Venice (London: The Queen’s Gallery, Buckingham Palace, 2017), pp. 651–52.
• Matthi Forrer, Review of the exhibition Hokusai: Beyond the Great Wave (London, The British Museum; and Osaka: Abeno Harukas Art Museum, 2017), pp. 652–53.
•Eric Zafran, Review of the exhibition America Collects Eighteenth-Century French Painting (Washington: D.C.: National Gallery of Art, 2017), pp. 669–70.

R E C E N T  A C Q U I S I T I O N S

Recent acquisitions (2007–17) by regional university collections in Britain

Joshua Reynolds, Maria Marow Gideon and Her Brother, William, 1786–87 (Birmingham: The Barber Institute of Fine Arts), January 2013.

Rosalba Carriera, Portrait of Gustavus Hamilton, 2nd Viscount Boyne, ca. 1730–31; pastel, heightened with white bodycolour on paper (Birmingham: The Barber Institute of Fine Arts), 2009.

John Opie, The Death of Archbishop Sharpe, 1797; oil on canvas (University of St Andrews), 2008.

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The Burlington Magazine, July 2017

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on July 27, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (July 2017), Decorative Arts

E D I T O R I A L

• “Furniture History: The Digital Future,” p. 519.
On the eve of the 300th anniversary of the birth of Thomas Chippendale in 2018, the editorial addresses the British and Irish Furniture Makers Online Project (BIFMO), which updates the The Dictionary of English Furniture Makers 1660–1840, edited by Geoffrey Beard and Christopher Gilbert and published by the Furniture History Society in 1986. The BIFMO—a collaboration between the FHS and the Centre for Metropolitan History (CMH) at the Institute of Historical Research, University of London—is an open-access searchable database of all the entries from The Dictionary, together with the names of furniture makers from Laurie Lindey’s recent PhD thesis (Lindey, as a post-doctoral research fellow is overseeing the project at the IHR with Mark Merry of the CMH). The first phase of the BIFMO’s launch is scheduled for 30 September.

A R T I C L E S

• Koenraad Brosens and Astrid Slegten, “Creativity and Disruption in Brussels Tapestry, 1698–1706: New Data on Jan van Orley and Judocus de Vos,” pp. 528–35.
• Francesco Morena, “The Emperor of Mexico’s Screen: Maximilian I’s ‘Biombo’ in Trieste,” pp. 536–43.

R E V I E W S

• Simonetta Prosperi Valenti Rodinò, Review of Sabina de Cavi, ed., Dibujos y ornamento: Trazas y Dibujos de Artes decorativas entre Portugal, España, Italia, Malta y Grecia: Estudio en honor de Fuensanta García de la Torre (De Luca Editori d’Arte, 2015), pp. 559–60.
• Pierre Terjanian, Review of A. V. B. Norman and Ian Eaves, Arms & Armour in the Collection of Her Majesty The Queen, European Armour (Royal Collection Trust, 2016),” pp. 560–61.
• Robin Hildyard, Review of Brian Gallagher, Barbara Stone Perry, Letitia Roberts, Diana Edwards, Pat Halfpenny, Maurice Hillis and Margaret Ferris Zimmerman, British Ceramics, 1675–1825: The Mint Museum (D. Giles, 2015), pp. 561–62.
• Gauvin Alexander Bailey, Review of Christopher M.S. Johns, China and the Church: Chinoiserie in Global Context (University of California Press, 2016) and Marco Musillo, The Shining Inheritance: Italian Painters at the Qing Court, 1699–1812 (Getty Publications, 2016),” pp. 562–63.
• Philippa Glanville, Review of James Rothwell, Silver for Entertaining: The Ickworth Collection (Philip Wilson, 2017), pp. 563–64.
• Humphrey Wine, Review of the exhibition Le Baroque des Lumières: Chefs-d’œuvre des églises parisiennes au XVIIIe siècle (Paris: Petit Palais, 2017), pp. 572–73.
• Patrick Bade, Review of the exhibition La Quête de la ligne: Trois siècles de dessin en Allemagne (Hamburg: Kunsthalle, 2016 and Paris: Fondation Custodia, 2017), pp. 574–75.
• Jamie Mulherron, Review of the exhibition Marie Madeleine: La Passion révélée (Bourg-en-Bresse: Monastère Royal de Brou; Carcassonne: Musée des Beaux Arts; and Douai: Musée de la Chartreuse, 2017), pp. 577–79.
• Elsje van Kessel, Review of the newly refurbished gallery of Portuguese painting and sculpture at the Museu Nacional de Arte Antiga (MNAA), pp. 579–80.
• Philippe Bordes, Review of the exhibition Charles Percier: Architecture and Design in an Age of Revolutions (New York, Bard Graduate Center Gallery; and Château de Fontainebleau, 2016–17), pp. 583–84.

Judocus de Vos, after Lambert de Hondt, Lucas Achtschellinck, and Jan van Orley, Naval Battle from the Art of War series, ca. 1715–20; wool and silk, 344 × 400 cm (Amsterdam: Rijksmuseum).

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Print Quarterly, June 2017

Posted in journal articles, reviews by Editor on June 23, 2017

The current issue of Print Quarterly includes several items relevant to the long eighteenth century:

Print Quarterly 34.2 (June 2017)

Philibert-Louis Debucourt, National Almanac Dedicated to the Friends of the Constitution, 1790, aquatint and etching, 42.5 × 33.5 cm (Paris, Archives Nationales).

A R T I C L E S
• Lucia Simonato, “Cornelis Bloemaerts’s Estate Inventory and his Final Years,” pp. 150–61.

N O T E S
• Deborah L. Crohn, “Festival Prints (The Edible Monument),” pp. 199–201.
• Elmer Kolfin, “Coloured Prints (Afsetters en meester–afsetters: De kunst van het kleuren 1480–1720),” pp. 203–05.
• Deborah Howard, “Lost in Translation: Reinterpretation of Architectural Treatises (Traduire l’architecture),” pp. 207–09.
• Christiane Wiebel, “Karoline Luise von Baden as Collector,” pp. 209–11.
• John E. Moore, “Piranesi’s Published Books,” pp. 211–14.
• Kristel Smentek, “Ephemera in Revolutionary France (The Politics of the Provisional),” pp. 214–16.
• Martin Myrone, “William Blake (1757–1827),” pp. 217–18.
• Katarina Klaric, “Adam Buck (1759–1833),” pp. 218–21.

R E V I E W S
• Sheila O’Connell, “The Land of Cockayne and the Joys of Matrimony,” pp. 231–34.

A full contents list is available here»

 

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Journal of Art Historiography, June 2017

Posted in journal articles, reviews by Editor on June 6, 2017

Selection of articles from the current issue of the Journal of Art Historiography most relevant to the eighteenth century:

Journal of Art Historiography 16 (June 2017)

The Limits of Connoisseurship: Guest Edited by Valérie Kobi

Valérie Kobi (Bielefeld University), “The Limits of Connoisseurship: Attribution Issues and Mistakes, An Introduction.”

David Pullins (The Frick Collection), “The Individual’s Triumph: The Eighteenth-Century Consolidation of Authorship and Art Historiography.”

Portuguese Art Historiography

Edward J. Sullivan (New York University), “Portuguese Art History: A View from North America.”

Foteini Vlachou (Instituto de História Contemporânea, Lisbon), “The Discourse on Utility: Art Theory in Eighteenth-Century Portugal.”

Reviews

Ingrid R. Vermeulen (Vrije Universiteit Amsterdam), Review of Kristel Smentek, Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (Ashgate, 2014).

 

Art History, June 2017

Posted in journal articles, reviews by Editor on May 23, 2017

The eighteenth century in the current issue of Art History:

Art History 40.3 (June 2017)

A R T I C L E S

Louis-Michel Van Loo, Carle Van Loo and His Family, 1757; oil on canvas, 200 × 156 cm (Musée National du Château de Versailles).

• Emma Barker, ” ‘No Picture More Charming’: The Family Portrait in Eighteenth-Century France,” pp. 526–53.

During the eighteenth century, so it is conventionally argued, the family portrait underwent a decisive transformation. Hitherto stiff and formal, such pictures took on a new informality and intimacy in response to the rise of a new set of domestic ideals. In the case of French family portraiture, this narrative has continued to be rehearsed in a largely uncritical way. What has not been adequately grasped to date is the way that such pictures functioned to legitimate the sitters and, more particularly, the male head of the family in the eyes of an external beholder. Although sometimes commissioned by a royal or noble family in response to a dynastic crisis, they most often functioned to consolidate the social ascent of wealthy commoners. The changes that the family portrait underwent during this period are bound up with the shift of political authority away from the absolute monarch towards the public sphere.

R E V I E W S

• Michael Schreffler, Review of Ananda Cohen Suarez, Heaven, Hell, and Everything in Between: Murals of the Colonial Andes (University of Texas Press, 2016), pp. 672–74.

• T. A. Heslop, Review of Christy Anderson, Anne Dunlop, and Pamela H. Smith, eds., The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750 (Manchester University Press, 2014), pp. 681–82.

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The American Historical Review (April 2017)

Posted in journal articles by Editor on May 17, 2017

The “AHR Forum: Mapping the Republic of Letters” in the current issue of The American Historical Review will likely be of interest to anyone engaged with questions of art history and big data, the Grand Tour, and mapping projects. Historiographical questions are central and addressed in fascinating ways. CH

The American Historical Review 122.2 (April 2017)

“AHR Forum: Mapping the Republic of Letters”

Dan Edelstein, Paula Findlen, Giovanna Ceserani, Caroline Winterer, and Nicole Coleman, “Historical Research in a Digital Age: Reflections from the Mapping the Republic of Letters Project,” pp. 400–24.

What can a big data approach bring to the study of the early modern Republic of Letters? This is the question we asked ourselves in our collaborative project Mapping the Republic of Letters. For the past nine years, we have been exploring the limits and possibilities of computation and visualization for studying early modern correspondences, whose massive and dispersed character have long challenged their students. Beyond cliometrics, what new ways of discovery and analysis do today’s big data offer? What can we learn by visualizing the archives and databases that are increasingly accessible and viewable online? In a variety of case studies focusing on metadata (in the letters of John Locke, Athanasius Kircher, Benjamin Franklin, and Voltaire, and in the travels of those engaging in the Grand Tour), we experimented with visualizations to produce maps of the known and unknown quantities in our datasets, and to represent intellectual, cultural, and geographical boundaries. In the process, we experienced collaborative authorship, and worked with designers and programmers to create an open access suite of visualization tools specifically for humanities scholars, Palladio. What might the next research steps be, as linked data rapidly develops further possibilities?

Giovanna Ceserani, Giorgio Caviglia, Nicole Coleman, Thea De Armond, Sarah Murray, and Molly Taylor-Poleskey, “British Travelers in Eighteenth-Century Italy: The Grand Tour and the Profession of Architecture,” pp. 425–50.

Drawing on a dynamic digital database of eighteenth-century British travelers in Italy, in this article we offer a case study focused on British architects to demonstrate the potential of digital resources for historical research. Based on the entries in John Ingammels’s Dictionary of British and Irish Travellers in Italy, 1701–1800 (1997)—which covers the itineraries and lives of more than five thousand travelers—our project adds a new richness and granularity to the understanding of the Grand Tour. We see what these tours were like and what they did for British architects in Italy and beyond. We show the patterns of places visited, of funding, of social and professional gains and interactions, and we thus catch sight of a history of architecture that goes beyond the influence of Italian architectural models on British thought and design. This approach to the Grand Tour reveals the transformation of “architecture” from a gentlemanly passion and artisanal craft into a modern profession and discipline. By indicating some of the ways in which the Grand Tour served this transformation, this case study also suggests the broader promise of our digital approach for scholars of various interests.

Jason M. Kelly, “Reading the Grand Tour at a Distance: Archives and Datasets in Digital History,” pp. 451–63.

This essay uses Giovanna Ceserani, Giorgio Caviglia, Nicole Coleman, Thea De Armond, Sarah Murray, and Molly Taylor-Poleskey’s essay “British Travelers in Eighteenth-Century Italy: The Grand Tour and the Profession of Architecture” as a point of departure from which to examine the limits and potentials of digital history, especially as it relates to the construction of archives and digital datasets. Through a critical reading of the sources used to create the Grand Tour Project—part of the Mapping the Republic of Letters project at Stanford University—it shows the ways in which datasets can both hide and embody hierarchies of power. Comparing the Grand Tour Project to other digital projects currently in production, such as Itinera and Legacies of British Slave-Ownership, this piece offers suggestions for alternative readings of the Grand Tour narrative. It ends by summarizing a series of challenges faced by historians as they contemplate best practices for creating and maintaining digital datasets in the twenty-first century.

Call for Articles | Fall 2018 Issue of J18: Albums

Posted in journal articles by Editor on May 14, 2017

From J18:

Journal18, Issue #6 (Fall 2018) — Albums
The Culture of Albums in the Long 18th Century

Proposals due by 1 October 2017; finished articles will be due by 1 April 2017

Selecting, collecting, classifying, curating, displaying, narrating, disseminating, transporting, entertaining, educating, subverting: what other single object does all of that at once? Ordering knowledge through the rationale of a sequenced and empirical display of data (visual, textual, material), the album became an archetypical site of the eighteenth century’s way of thinking about and representing the world. Neither a treatise implementing a master-hypothesis nor a random gathering of material, albums can be described as both hybrid and structured objects. They have the physical structure of a book and the appearance of a narrative but are also pure displays, a rhetorical organization of iconic discourses and a virtual folding or unfolding of a larger idea having a specific program. They simultaneously contain pictorial imagery (paintings, cut-ups, and, later in the nineteenth century, photographs) and are themselves artistic creations. They provide microcosmic and portable representations of a polity, a culture, or an individual. Unexpected mixtures of media and topics also form the repertoire of many albums. They invite us to think through regimes of readability, visibility, and seriality. Often studied for their contents rather than as creations in their own right, albums raise many important questions regarding their status as archival or museum objects. Their contrived nature makes them ideal objects to be studied in terms of social practice, identity politics, and interconnectedness. They invoke relationships, compositions, and collectivity. The album offers a very fertile ground for probing the material and intellectual productivity of cultures.

What does album-making tell us about cultural and individual identities? And how do these identities utilize and make sense of this specific practice? How do albums work iconographically and textually? What is their historical significance and how can we interpret them? For Issue 6 of Journal18, we invite papers that explore these and related questions to appraise this hitherto neglected object of our discipline. In particular, we call for an investigation of parallel developments of albums around the globe across the long eighteenth century  (1650–1850), as well as the theoretical debates informing notions of serialization and authenticity. Drawing upon neighboring fields of anthropology, literary criticism, philosophy, and museum studies, we invite scholars to think about these objects as ubiquitous and intimately interconnected artefacts, and to investigate them within cultures of imperialism, colonialism, identity politics, and theoretical approaches of artistic hybridity and difference.

Issue Editor
Nebahat Avcioglu, Hunter College/CUNY

Proposals for issue #6 Albums are now being accepted. Deadline for proposals: October 1, 2017. To submit a proposal, send an abstract (200 words) and a brief CV to editor@journal18.org and navciogl@hunter.cuny.edu. Articles should not exceed 6000 words (including footnotes) and will be due on April 1, 2018. For further details on the submission process see Information for Authors.

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The Burlington Magazine, April 2017

Posted in journal articles, reviews by Editor on April 29, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (April 2017)

AR T I C L E S
• Susan M. Wager, “The Earliest Known Version of Madame de Pompadour’s Suite d’Estampes Rediscovered,” pp. 285–89.
• Elizabeth Darrow, “The Art of Conservation: X Pietro Edwards: The Restorer as Philosophe,” pp. 308–17.

R E V I E W S
• Owen Hopkins, Review of Angelo Hornak, After the Fire: London Churches in the Age of Wren, Hooke, Hawksmoore, and Gibbs (Pimpernel Press, 2016), pp. 323–24.
• Giles Waterfield, Review of Burton Fredericksen, The Burdens of Wealth: Paul Getty and His Museum (Archway Publishing, 2015), p. 325.
• Teresa Leonor M. Vale, Review of the exhibition catalogue, Alvar Gonzalez Palacios, I Valadier: L’album dei disegni del museo napoleonico (Museo Napoleonico di Roma, 2015), p. 328.
• Richard Green, Review of Stephen Lloyd, ed., Art, Animals and Politics: Knowsley and the Earls of Derby (Unicorn Press, 2015), p. 328.

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