The Burlington Magazine, September 2021

Posted in books, catalogues, journal articles, obituaries, reviews by Editor on September 29, 2021

The eighteenth century in this month’s issue of The Burlington . . .

The Burlington Magazine 163 (September 2021)


• “Nicholas Goodison and The Burlington,” p. 779.


• David Pullins, Dorothy Mahon, Silvia A. Centeno, “The Lavoisiers by David: Technical Findings on Portraiture at the Brink of Revolution,” pp. 780–91.
Recent technical examination of Jacques-Louis David’s portrait of Antoine-Laurent and Marie-Anne Lavoisier in the Metropolitan Museum of Art, New York, painted between 1787 and 1788, has revealed significant and previously unknown alterations that transform our understanding of this celebrated portrait, its author, and its sitters.


• Susan Babaie, Review of the exhibition Epic Iran (V&A, 2021), pp. 837–39.

• Jonathan Conlin, Review of the exhibition Creating a National Collection: The Partnership between Southampton City Art Gallery and the National Gallery (Southampton City Art Gallery, 2021), pp. 845–48.

• Tanya Harrod, Review of the newly renovated Museum of the Home (previously the Geffrye Museum), pp. 858–61.

• John Bold, Review of John Martin Robinson, Wilton House: The Art, Architecture, and Interiors of One of Britain’s Great Stately Homes (Rizzoli Electa, 2021), pp. 872–74.

• Simon Lee, Review of Janis Tomlinson, Goya: A Portrait of the Artist (Princeton UP, 2020), pp. 874–75.

• Peter Fuhring, Review of Elena Cooper, Art and Modern Copyright: The Contested Image (Cambridge UP, 2018), pp. 875–76.


• Simon Jervis, “Ronald Lightbown (1932–2021),” pp. 879–80.
Spending most of his career at the Victoria and Albert Museum and National Art Library, Ronald Lightbown was a scholar of exceptional breadth, whose publications ranged from goldsmiths’ work of the late Middle Ages to Renaissance art and from the history of jewellery to Baroque wax sculpture.


American Ceramic Circle Journal 21 (2021)

Posted in journal articles by Editor on September 18, 2021

In the latest issue of the ACC Journal:

The American Ceramic Circle (ACC) is pleased to announce the release of its anniversary issue, volume XXI, of the American Ceramic Circle Journal. For this volume, the Journal committee has selected articles of great variety on quite different and diverse subjects. In the opening essay, “The Mysterious World of Redwares: Medicine and Magic in the Pottery of Pre-Enlightenment Europe,” Errol Manners connects the dots between redwares across Europe, the Americas, and China and explores their historical context. Alison McQueen’s research is an important milestone in giving the female workers of the Vincennes, and later Sevres, manufactory, their identities back. Her “study examines works by the female painters Marie-Victoire Jaquotot, Pauline Knip, Marie-Adélaide Ducluzeau, and Pauline Laurent, and the undervalued contributions of female employees responsible for retouching glaze, laying down prints, and burnishing the wares.” Ronald Fuchs’s essay “From Rehe, China, to Staffordshire, England: The Voyage of a Chinese Image” follows the ‘India Temple’ pattern made by John and William Ridgway of Staffordshire from its origin in China to its appearance on ceramics in England. For the 2019 ACC Symposium, we offered a wonderful excursion to Seagrove, NC, and Stephen Compton’s article “Jugtown Ware: A Modern Primitive Expression” will bring back for those who attended pleasant memories of that experience. Stephen will give a deeper insight into the founding and production of Jugtown Pottery. Radhika Vaidyanathan, a researcher and artist from South India, focuses on the tile-manufacturing process in the Indian subcontinent by the Swiss/German Basel Mission. Manhattan’s Hadler Rodriguez Gallery is the topic of Tom Folk’s article. The two New York gallerists were offering gay and lesbian ceramists a rare forum to freely exhibit in the 1970s and 1980s. Tizziana Baldenebro surveys Fred Marer’s collection of mid-century ceramics, which is now housed at Scripps College, Claremont, CA. The Marer Collection, which holds important examples of the American Studio Pottery Movement, is also part of the Marks Project’s online database. The Marks Project (TMP) received an ACC Grant in 2018.


• Errol Manners — The Mysterious World of Redwares: Medicine and Magine in the Pottery of Pre-Enlightenment Europe
• Alison McQueen — Making the Marks: The Significant Roles and Challenges for Women in the First Century of Sèvres Porcelain
• Ronald W. Fuchs II — From Rehe, China to Staffordshire, England: The Voyage of a Chinese Image
• Stephen C. Compton — Jugtown Ware, a Modern Primitive Expression: American and Asian Pottery Traditions Come together in North Carolina
• Radhika Vaidyanathan — Ceramics and Missionaries in Colonial India: A Preliminary Survey of the Basel Mission Tile Factories
• Tom Folk — The Heroic Story of Manhattan’s Hadler Rodriguez Gallery
• Tizziana Baldenebro — The Marer Collection: Persistent Witness

The American Ceramic Circle (ACC) was founded in 1970 as a non-profit educational organization committed to the study and appreciation of ceramics. Its purpose is to promote scholarship and research in the history, use, and preservation of ceramics of all kinds, periods, and origins. The current active membership of approximately 500 is composed of museum and auction house professionals, collectors, institutions, and a limited number of dealers ceramics. The American Ceramic Circle Journal was first produced in 1971. Each volume has typically included five to ten articles presenting original research on a particular aspect of world ceramics. Many of the articles over the years have concentrated on American, European, and Asian ceramics from the sixteenth to the twentieth centuries, but the Journal welcomes a wide variety of ceramics-related topics. Submissions include papers presented at the ACC’s annual symposium, articles based on research sponsored by an ACC grant, and contributions from independent scholars. The Journal is distributed to all current ACC members, both individuals and institutions, as part of their membership, and individual issues are available for purchase on the ACC website. For questions, please contact ACC Journal Editor, Dr. Vanessa Sigalas, at journal@americanceramiccircle.org.


Print Quarterly, September 2021

Posted in books, journal articles, reviews by Editor on September 18, 2021

Gottfried August Gründler, Frontispiece Der Naturforscher (1774), engraving, 90 × 110 mm
(Cambridge University Library)

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The eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 38.3 (September 2021)

William Pether, Eye Miniature, 1817, watercolour on ivory, embedded in red velvet, 27 × 22 mm (London: Victoria & Albert Museum).


Dominika Cora, “New Light on the Life and Work of the Mezzotint Engraver William Pether (1739–1821)”

William Pether (1739–1821) was one of the most distinguished English mezzotint engravers in the second half of the eighteenth century. Responding to scholarly confusion around his life, this article presents archival discoveries that illuminate his biography and personal life, as well as unpublished drawings and an overview of his artistic output.


Anna Gielas, “Gottfried A. Gründler’s Der Naturforscher (1773)”

During the second half of the eighteenth century, there was a peak in the usage of elaborate frontispiece engravings for European naturalist periodicals. Gielas introduces the frontispiece created by the renowned German engraver Gottfried August Gründler (1710–1775) for the naturalist journal Der Naturforscher and examines the useful information it displayed to the periodical’s (potential) audience. The engraving can be seen as an illustration of the cultural identity of naturalists as well as the Enlightened individual in the later decades of the eighteenth century.

Call for Articles | Colnaghi Studies Journal

Posted in Calls for Papers, journal articles by Editor on July 20, 2021

From ArtHist.net:

Colnaghi Studies Journal
Articles due by 18 October 2021

Colnaghi Studies Journal is currently accepting submissions for future volumes. Articles should highlight new discoveries or current research relating to important artworks produced in—or as a direct response to—the European tradition, in the periods from Antiquity to the mid-nineteenth century. The journal welcomes articles relating to a variety of objects, including paintings, sculptures, drawings, prints, decorative arts, and textiles, as well as the history of their collection and conservation. Texts should be largely object focused and place artworks within the broader context of the culture and period in which they were produced, providing visual analysis and high-quality comparative images.

Manuscripts will be reviewed by members of the journal’s Editorial Committee, composed of specialists covering a wide range of fields, periods, and geographic areas. Texts should be between 1000 and 10,000 words (including endnotes) and include between five and fifteen illustrations, depending on the length of the article. The author of each article is responsible for obtaining all photographic material and reproduction rights. We will endeavour to help early career and independent scholars cover the cost of image licenses. Each author will receive a hard copy of the volume in which his or her article appears. Please send submissions to journal@colnaghi.com and visit the Foundation’s website for style guidelines.


The Burlington Magazine, June 2021

Posted in books, catalogues, journal articles, reviews by Editor on June 28, 2021

Charles-Louis Clérisseau, Traou en Dalmathia, 1757
(Paris: Bibliothèque nationale de France)

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The eighteenth century in this month’s issue of The Burlington . . .

The Burlington Magazine 163 (June 2021) — Works of Art on Paper


• Ana Šverko, “Clérisseau’s Journey to Dalmatia: A Newly Attributed Collection of Drawings,” pp. 492–502.
A collection of 136 hitherto anonymous drawings of Italy, Istria and Dalmatia in the Bibliothèque nationale de France, Paris, is here attributed to Charles-Louis Clérisseau. The drawings, which include a group made during his journey from Venice to Diocletian’s Palace in Split with Robert Adam in 1757, further expand our understanding of Clérisseau as the forerunner of a new generation of traveller-painters.

• Tony Barnard, “Trading in Art: Antonio Cesare di Poggi (1744–1836),” pp. 492–502.
With the help of his English wife, Hester, the Italian artist A.C. Poggi forged a career in London as a portrait painter, a retailer of fans, a dealer principally in drawings and publisher of prints. Poggi’s successes and failures reflect changing fashions and fortunes in the capital’s competitive art world between his arrival in England c.1770 and departure for the Continent in 1801.

• Christopher White, “Reminiscences of the British Museum Print Room, 1954–65,” pp. 492–502.
The author’s first job, as Assistant Keeper with responsibility for the Northern schools in the Department of Prints and Drawings at the British Museum, London, introduced him to a distinguished group of curators and an occasionally eccentric band of visitors. The department’s focus was emphatically on drawings, where major acquisitions could be made by sharp-eyed scholars in the salesrooms.

Fan portraying George III and his family at the Royal Academy of Arts exhibition in 1788, made by A.C. Poggi incorporating a print by Pietro Antonio Martini after J. H. Ramberg, ca. 1790, engraved and hand-coloured paper with carved and pierced ivory sticks and guards, width when open 38.4 cm (London: Victoria and Albert Museum, T.56-1933).

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• Elizabeth Pergam, “The Frick Reframed,” pp. 536–39. On the plain, grey walls of the Modernist Breuer building, New York, some of the most famous works from the Frick Collection shine in a new light.

• Yuriko Jackall, Review of the exhibition catalogue Une des Provinces du Rococo: La Chine Rêvée de François Boucher, ed. by Yohan Rimaud and Alastair Laing (In Fine éditions d’art and Musée des beaux-arts et d’archéologie de Besançon, 2019), pp. 539–41.

• Jonathan Yarker, Review of the exhibition Turner’s Modern World (Tate Britain, 2020–21), pp. 541–44.

• Amanda Dotseth, Review of the exhibition publication Museo del Prado 1819–2019: Un lugar de memoria, ed. by Javier Portús et al (Prado, 2018), pp. 546–49.

• Simonetta Prosperi Valenti Rodinò, Review of Les dessins de la collection Mariette: Écoles italienne et espagnole, by Pierre Rosenberg et al, 4 vols., (Somogy, 2019), pp. 550–51.

• Oliver Tostmann, Review of Die Zeichnungen des Giovan Battista Beinaschi aus der Sammlung der Kunstakademie Düsseldorf am Kunstpalast, ed. by Sonja Brink and Francesco Grisolia (Imhof Verlag, 2020), pp. 556–57. [Beinaschi lived between 1636 and 1688, but Tostmann notes in passing points of his eighteenth-century reception.]

• Christoph Martin Vogtherr, Review of L’ Art et la manière: Dessins français du XVIIIesiècle des musées de Marseille, ed. by Luc Georget and Gérard Fabre (Silvana Editoriale, 2019), pp. 557–58.

Call for Articles | The Eighteenth Century in Comics and Graphic Novels

Posted in Calls for Papers, journal articles by Editor on June 25, 2021

From ArtHist.net:

Die Aufklärung und das 18. Jh. in Comic und Graphic Novel
he Enlightenment and the 18th Century in Comics and Graphic Novels
Special Issue of Jahrbuch Der OGE 18
Jahrbuch Der Österreichischen Gesellschaft Zur Erforschung Des Achtzehnten Jahrhunderts 2022

Proposals due by 31 July 2021; completed articles will be due 31 December 2021

Anlässlich ihres 40-Jahr-Jubiläums widmet die Österreichische Gesellschaft zur Erforschung des 18. Jahrhunderts ihr Jahrbuch 2022 Repräsentationen von Aufklärung und dem 18. Jahrhundert in Comics und Graphic Novels. Zwar ist die Rezeption historischer Inhalte in der Populärkultur ein etabliertes Forschungsfeld, doch haben die Text-Bild-Narrationen dieses Mediums—verglichen etwa mit Computerspielen—bislang kaum Aufmerksamkeit gefunden. Vorliegende Arbeiten (wie C. Gundermanns Jenseits von Asterix, 2007) haben einerseits einen fachdidaktischen Schwerpunkt auf Aspekte der Vermittlung, andererseits keinen definierten Fokus auf das 18. Jahrhundert. — Dieses ist aber in mehrfacher Hinsicht interessant: Graphic Novels (etwa zu Voltaire) können Ideen der Aufklärung recht präzise auf den Punkt bringen; manche historisierenden Donald Duck-Darstellungen (etwa jene von Erika Fuchs) spiegeln dagegen durchaus tieferes Verständnis der deutschen Klassik. Dennoch hat sich bislang niemand diesem Thema wissenschaftlich angenähert. Die OGE18 will das mit ihrem Jubiläumsjahrbuch nun ändern.

Gesucht werden wissenschaftliche Aufsätze (im Umfang von rund 40.000 bis 50.000 Zeichen inkl. Leerzeichen), die die Verhandlung von Motiven, Figuren, Ereignissen und Ideen des ‚langen‘ 18. Jahrhunderts in Comics oder Graphic Novels kritisch diskutieren. Aufsätze können in deutscher, englischer oder französischer Sprache eingereicht werden. Abgabetermin ist der 31. Dezember 2021. Die Beiträge werden einem Peer-Review-Verfahren unterzogen. Bei Interesse senden Sie bitte bis spätestens 31. Juli 2021 eine knappe Skizze Ihres Beitrags an die Herausgeber_innen Thomas Assinger (thomas.assinger@sbg.ac.at), Elisabeth Lobenwein (elisabeth.lobenwein@aau.at) und Thomas Wallnig (thomas.wallnig@univie.ac.at).

Woman’s Art Journal, Spring / Summer 2021

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on June 21, 2021

The eighteenth century in the latest issue of WAJ:

Woman’s Art Journal 42.1 (Spring / Summer 2021)

Marguerite Gérard, Portrait of a Man and Woman in an Interior, 1818 (Tulsa: Philbrook Museum of Art; Taber Art Fund, 2019.9). The painting sold at Christie’s in Paris on 28 October 2019, Sale 17655, Lot 751.


• Sarah Lees, “Marguerite Gérard’s Portrait of a Man and a Woman in an Interior: Portraiture, Landscape, and Social Networks,” pp. 19–26.
• Alison M. Kettering, “Watercolor and Women in the Early Modern Netherlands: Between Mirror and Comb,” pp. 27–35.


• Rosie Razzall, Review of Angela Oberer, The Life and Work of Rosalba Carriera (1673–1757): The Queen of Pastel (Amsterdam University Press, 2020), pp. 44–46.
• Wendy Wassyng Roworth, Review of the exhibition catalogue, Angelica Kauffman, edited by Bettina Baumgärtel (Hirmer, 2020), pp. 46–48.

Call for Articles | Raconter / Narrative(s)

Posted in Calls for Papers, journal articles by Editor on June 7, 2021

From the Call for Papers (English and French) . . .

Raconter / Narrative(s), Edited by Marine Kisiel and Matthieu Léglise
Special Issue of Perspective: actualité en histoire de l’art, no. 2022 – 2

Proposals due by 1 July 2021, with completed articles due by 15 December 2021

The journal Perspective’s thematic issue 2022 – 2 will explore the relationships between narration, art and art history. From the stories that inspire images and art objects, to those (re)constituted by its viewers, to the ‘story-telling’ of art historians, this issue is intended to make use of the act of narrating as a productively destabilizing heuristic tool. Even in the absence of figured diegetic content, the image and the art object narrate, if only as witnesses of an era or practices, as vehicles of narrativity. The resulting visual narratives in turn generate other narratives: fictions or legends, scholarly articles or fanciful ramblings, dialogues between artworks or viewers’ monologues. And art historical narratives as well, given that art historians continuously recount the process performatively, with its multiple mises en abyme and comings and goings in the grey areas between fact and fiction, expression and narration, description, analysis, and projection.

The historical place of the terminology of narrative within the field of literary studies also calls for examining the relationship between a narrative in images and its possible written sources. Does representing a story in images amount to imitating the textual narrative or faithfully reproducing its dramaturgy for the eye? What are the possibilities of visual narrativity relative to those of verbal language? The debt of figurative representation to its source has prompted a variety of responses from researchers in art history, some of whom posit the primacy of the written over the visual. Here, the concept of figurative thought (Pierre Francastel, La figure et le lieu : l’ordre visuel du Quattrocento, Paris, Gallimard, 1967) permits a distinction between two equally valid conceptual domains, where each narrative medium has its own logic. This dialectical approach, which connects the narrative image to its cultural environment, then opens the way to multiple interactions and reformulations, in particular through orality and a dialogue between the collective imaginary, individual imaginaries, and visual culture (Hans Belting, An Anthropology of Images: Picture, Medium, Body [2001], Princeton / Oxford, Princeton University Press, 2011). In methodological terms, the emergence of narratology within French literary theory in the 1970s (Gérard Genette, Figures III [1972], selections translated as Narrative Discourse, An Essay in Method, Ithaca, NY, Cornell University Press, 1980) provided a body of conceptual tools for renewing the study of the internal mechanisms of the literary narrative, in particular through the distinction between histoire (story), récit (narrative text) and narration (narrating act). The possible influence, or not, of this approach on the theoretical frameworks used in art history to analyze the narrative elements of the artwork or the image merits further consideration. And the same is true for the connections between visual, linguistic, and semiotic studies.

The figured narrative calls on a wide variety of visual means for shaping and spatializing narrative content through still and moving images (analog or digital), architecture, fashion, or art objects. Each work produced—monument, dress, painting, sculpture, film, book, digital interface, art object—requires a match between the narrative in images and its medium, dimensions and volume so as to fashion its visual effectiveness and reception by judiciously condensing or expanding it. Giving visual form to the narrative is also a means of fashioning or recounting its time In sum, this issue of Perspective seeks to take into account all the narrative dimensions, specificities, and potentialities of art objects and works and explore the way(s) the narrativity of the visual is rooted in a lengthy process of legitimization and empowerment.

If the image and the art object narrate, art historians in turn continuously provide a dialogical account of this multifaceted relationship as a kind of story within the story. The history of art, rooted in the works of Giorgio Vasari and Karel van Mander (considered as its modern founders), is based on a narrative exercise, from the ekphrasis of Antiquity to the epic narratives of modernist autonomy, but also anecdotes and biographical legends. The way art historians have forged their discipline by freeing themselves from a willfully mythical literary practice and gradually adopting, fashioning, and discussing ‘scientific’ methods bears witness to a complex relationship with the narrative and narration—otherwise stated, a kind of fiction. Some recent historiographical studies have focused on the question of these close ties between the writing of history and that of fiction. Mark Ledbury, in the collective work Fictions of Art History (Williamstown, Mass., Sterling and Francine Clark Art Institute / Yale University Press, 2013), Ivan Jablonka with History Is a Contemporary Literature: Manifesto for the Social Sciences [2014] (Ithaca, NY, Cornell University Press, 2018), and more recently, Myriam Métayer and Adriana Sotropa, the editors of Le récit de l’histoire de l’art. Mots et rhétoriques d’une discipline (Le Kremlin-Bicêtre, Éditions Esthétique du divers, 2017), for example, have offered fruitful insights. Is it possible to write history without telling stories? From the point of view of the images and art objects or that of the viewers, can—or should—we forego any narrative process? Can we communicate without narrating (or narrating ourselves)? If this is not the case, what epistemological conclusions can be drawn about the way we consider our practice—our writing—of art history? In the era of ‘alternative facts’ and storytelling, when the question of the relative nature of narratives is both a considerable risk and an opportunity, raising question about the making of narrative, the way that art and art history narrate (and narrate themselves), ultimately implies a return to teleological issues: what has meaning, what gives meaning, what creates meaning?

The appearance of an image, be it figurative, aniconic, material, or mental, gives rise to a story and a way of arranging it into a narrative. But does the absence of figuration signify the absence of narrative? For in the same way, the appearance of the image, be it material or mental, figurative or aniconic, gives rise to a desire to narrate. While no one will deny that the image and the narrative act go hand in hand, the precedence of one over the other remains an eternal subject of debate, as are the relaying and embedding processes that engender them, from the time of the paragone to modernist discourse predicting the end of narrative artworks. For the upcoming thematic issue, these different oppositions and complex transmission phenomena can be approached from a variety of vantage points, provided that the analysis is situated within a historiographical perspective addressing the narrative processes at work in the creation and reception of art from the origins to the present day, from symbolic Paleolithic expressions to contemporary cinema. For this reason, specific case studies bearing on iconographic analyses will not be accepted unless they raise broader critical questions.

Proposals involving one or several of the following approaches will be particularly welcome:
• Artists telling stories
• Artists telling their own stories (authorized accounts, etc.)
• Historians recounting the life of the artist (from Vasari to Ernst Kriz and Otto Kurz)
• Historians telling the story of visual narratives (iconography, iconology, interpretation, etc.)
• Synchronic narratives of art history (the ‘great’ movements, the ‘master’ narratives)
• Counter-narratives and re-narrated art historical narratives (historiography, fictionalization)
• The place and possibility of a collective and/or participatory narrative within the discipline
• The socio-political consequences and echos of art-historical narratives and counter-narratives (activism, societal debates)

Published by the Institut national d’histoire de l’art (INHA) since 2006, Perspective is a biannual journal which aims to bring out the diversity of current research in art history through a constantly evolving approach that is explicitly aware of itself and its own historicity and articulations. It bears witness to the historiographical debates within the field, while remaining in continuous relation with the images and works of art themselves, updating their interpretations, and thus fostering global, intra- and interdisciplinary reflection. The journal publishes scholarly texts which offer innovative perspectives on a given theme. These may be situated within a wide range, yet without ever losing sight of their larger objective: going beyond any given case study in order to interrogate the discipline, its methods, history and limitations, while relating these questions to topical issues from art history and neighboring disciplines that speak to each of us as citizens.

Perspective invites contributors to update their historiographical material and the theoretical questionings from which they draw their work, to think from and around the starting point of a precise question, an assessment that will be considered an epistemological tool rather than a goal in itself. Each article thus calls for a new approach creating links with the great societal and intellectual debates of our time. Perspective is conceived as a disciplinary crossroads aiming to encourage dialogue between art history and other fields of research, the humanities in particular, and put into action the ‘law of the good neighbor’ developed by Aby Warburg. All geographical areas, periods, and media are welcome.

Narrative(s), no. 2022 – 2
Editors: Marine Kisiel (INHA) and Matthieu Léglise (INHA)
Issue coordinated with Anne-Orange Poilpré (université Paris 1 – Panthéon-Sorbonne)

Please send your submissions (an abstract of 2,000 to 3,000 characters / 350 to 500 words, a provisional title, a short bibliography on the subject, and a biography of a few lines) to the editorial office (revue-perspective@inha.fr) before July 1st, 2021. Proposals will be examined by the issue’s editorial committee regardless of language (articles accepted for publication will be translated by Perspective). The authors of the pre-selected proposals will be informed of the committee’s decision by the end of July 2021. The complete articles (25,000 or 45,000 characters/ 4,500 or 7,500 words depending on the project) must be submitted by December 15th, 2021. These will be definitively accepted after the journal’s anonymous peer-review process.

Translated from French by Miriam Rosen

Print Quarterly, June 2021

Posted in books, exhibitions, journal articles, reviews by Editor on June 5, 2021

The eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 38.2 (June 2021)

Jeanne-Elisabeth Chaudet, Portrait of a Young Girl, traditionally Identified as Madame Villot, née Barbier, Carrying Her Father’s Sabre, oil on canvas, likely shown at the Salon in 1817 (Private Collection).


Claire Brisby, “Orthodox Prints in the Samokov Painter’s Archive”

Addressing the distinctive category of religious prints produced for the Orthodox Christian market from 1698 to 1864, Brisby’s article focuses on prints that once formed the image archive of the painter Christo Dimitrov and his son and other family members in Samokov, Bulgaria—prints that have received limited scholarly attention. The article discusses various sites of print production and explores the use of prints in workshops as models for frescoes and paintings.


F. Carlo Schmid, “Prints after the Antique up to 1869”

The exhibition catalogue Phönix aus der Asche: Bildwerdung der Antike – Druckgrafiken bis 1869 / L’Araba Fenice: L’Antico Visualizzato nella Grafica a Stampa fino al 1869, reviewed here by F. Carlo Schmid, explores the development of printed images concerning architecture, sculpture, and objects of everyday life of classical antiquity. The prints date from the fifteenth to the second half of the nineteenth century and relate to works from, but not limited to, Egypt, Greece, and the Roman Empire. Of particular interest to eighteenth-century scholars, Schmid highlights that the original project out of which the exhibition and catalogue grew concerned Hadrian’s Villa at Tivoli as a “space of artistic interaction” in the eighteenth and nineteenth centuries.

Adamo Scultori (Ghisi), Young Prisoner, 1566–80, engraving.

Francisco J. R. Chaparro, “Spanish Drawing Books”

A note on the exhibition catalogue El Maestro de Papel reviewed here by Francisco J. R. Chaparro, presents a comprehensive review of the scholarly attention directed towards Spanish drawing books. Chaparro makes reference to the Matías de Irala 1731 work and mentions the poor survival of the books. Chaparro tracks the appearance and reappearance of Jusepe Ribera’s etchings dated 1622 to highlight the further issue of cross-reference in these works. The note provides a critique of the exhibition while firmly situating it as a cornerstone for further research on the field of Spanish prints and drawings.

Ellis Tinios, “Surimono from the Virginia Shawan Drosten and Patrick Kenadjian Collection”

A laudatory note by Ellis Tinios on the catalogue The Private World of Surimino presents a brief analysis of surimono prints and notes, for instance, the importance of adequate lighting in revealing the complexities of blind printing and reflective inks.

David Ekserdijan, “A Portrait by Jeanne-Elisabeth Chaudet and Its Source”

David Ekserdijan presents the unusual artistic inspiration behind Jeanne-Elisabeth Chaudet’s painting A Portrait of a Young Girl of 1817, which sold in a 2006 Sotheby’s auction. The note features a side-by-side comparison with Adamo Scultori’s Young Prisoner or An Allegory of Servitude of 1566–80.


Call for Submissions | Metropolitan Museum Journal

Posted in Calls for Papers, journal articles by Editor on May 18, 2021

Metropolitan Museum Journal 57 (2022)
Submissions due by 15 September 2021

The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. There are two sections: Articles and Research Notes. Articles contribute extensive and thoroughly argued scholarship. Research Notes typically present a concise, neatly bounded aspect of ongoing investigation, such as a new acquisition or attribution, or a specific, resonant finding from technical analysis. All texts must take works of art in the collection as the point of departure. Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal‘s home page on the University of Chicago Press website.

The process of peer review is double-blind. Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conserva­tion, and scientific departments, as well as scholars from the broader academic community.

The Journal offers free image services to authors of accepted contributions.

Submission guidelines are available here.

Please send materials to journalsubmissions@metmuseum.org

Questions? Write to Iris.Moon@metmuseum.org or Elizabeth.Block@metmuseum.org


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