Call for Articles | Fall 2018 Issue of J18: Albums
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.
The Burlington Magazine, April 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.
Print Quarterly, March 2017
Antoine Masson, after Titian, Supper at Emmaus, second half of the seventeenth century, engraving, 452 x 586 mm
(London: The British Museum).
◊ ◊ ◊ ◊ ◊
Foremost among the several items in the current issue of Print Quarterly relevant to the eighteenth century is an article by Thomas Frangenberg addressing Franz Christoph von Scheyb (1704–77) on the art of engraving. Von Scheyb’s unusual detailed discussion of a print by Antoine Masson (1636–1700) after Titian demonstrates the sophistication with which aspects of reproductive prints could be articulated during this period, revealing prints’ merits and shortcomings, both as sources of art history and works of art in their own right. The issue also includes shorter reviews on books about Tiepolo, Piazzetta, and Novelli in the context of the eighteenth-century Venetian illustrated book; drawings and prints after the antique; and prints by Luigi Rossini (1790–1857).
Print Quarterly 34.1 (March 2017)
A R T I C L E S
• Thomas Frangenberg, “Franz Christoph von Scheyb on the Art of Engraving,” pp. 32–41
N O T E S
• Viccy Coltman, “Drawn from the Antique: Artists & the Classical Ideal,” pp. 70–72.
• Giorgio Marini, “Book Illustration in Eighteenth-Century Venice (Tiepolo, Piazzetta, Novelli: L’incanto del libro illustrato nel Settecento Veneto), pp. 73–76.
• David R. Marshall, “Luigi Rossini 1790–1857,” pp. 76–77.
A full contents list is available here»
Journal18, #3 Lifelike (Spring 2017)
The third issue of J18 is now available.
Journal18, Issue #3: Lifelike (Spring 2017)
Issue Editors: Noémie Etienne and Meredith Martin
During the eighteenth century, a range of artistic productions sought to simulate motion and life in new ways. At the same time, individuals became ever more preoccupied with performing or embodying static works of art. Echoing contemporary discussions in artistic and literary discourses around vraisemblance and verisimilitude, as well as mimesis and imitation, these preoccupations also tapped in to larger social and intellectual debates about matter, mankind, and machines at a global level.
This issue of Journal18 explores these fundamental tensions between art and life, movement and permanence that obsessed the worlds of art, science, and entertainment during the eighteenth century. What was considered ‘lifelike’ in this period? How did artworks—among them taxidermy tableaux, moving statues, nautilus cups, and automaton clocks—engage with this notion and participate in redefining it? What was at stake in staging a convincing simulation of life, and what purpose—political, pedagogical, or otherwise—did it serve? What role did ephemeral performances or spectacles play in generating such illusions and in shaping their significance? And how might we interpret these acts historically today?
In addition to full-length articles, we have assembled a series of shorter essays on the theme of ‘Waxworks’. More than any other material in the eighteenth century, wax seems to have provoked debates about the permeable boundaries between illusion and imitation, art and science, absence and presence. At the same time, objects made of wax—from La Specola’s famous anatomical Venus to busts portraying victims of the French Revolution modeled from life by Marie Tussaud—have the potential to disrupt traditional categories and hierarchies of art history, which is perhaps one reason why wax has emerged in recent years as such an exciting and provocative field of study.
A R T I C L E S
• Valérie Kobi, Staging Life: Natural History Tableaux in Eighteenth-Century Europe
• Amelia Rauser, Vitalist Statues and the Belly Pad of 1793
• Eugenia Zuroski, Nautilus Cups and Unstill Life
• Lihong Liu, Pyrotechnic Profusion: Fireworks, Spectacles, and Automata in Time
W A X W O R K S
• David Mark Mitchell, Vividness without Vitality: The Specola Venus’s Intersecting Afterlives
• Robert Wellington, Antoine Benoist’s Wax Portraits of Louis XIV
• Charles Kang, Anatomy of the Bel Effet: Wax between Science and Art
• Paris Amanda Spies-Gans, ‘The Fullest Imitation of Life’: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution
Cover image: Detail of stuffed Starling, Oriole and Bird’s Skeleton from Goethe’s Collection, before 1790 (Goethe-Nationalmuseum, Weimar ©Klassik Stiftung Weimar/Thomas Korn)
Print Quarterly, December 2016
Domenico Bonaveri, Muscle Figure, pl. 10 from Notomie di Titiano (Bologna, ca, 1685–90), etching and engraving (Los Angeles: Getty Research Library).
The December 2016 issue of Print Quarterly includes several items relevant to the eighteenth century: articles concerning a redating of the Notomie di Titiano to c. 1685–90, a scrapbook in the Bibliotheca Thysiana in Leiden assembled in the late seventeenth or early eighteenth century, and a rediscovered drawing of 1669–80 by Jean Boulanger, as well as shorter pieces on the Dresden festivities of 1719 and prints and propaganda in the age of Napoleon.
Print Quarterly 33.4 (December 2016)
A R T I C L E S
• Monique Kornell, “A Dating for Domenico Bonaveri’s Notomie di Titiano,” pp. 379–91.
• Daphne E. Woutsa, “Exploring the Thysiana Scrapbook,” pp. 391–406.
• Angelamaria Aceto, “A Rediscovered Drawing by Jean Boulanger (1608–c.1680),” pp. 406–15,
N O T E S
• Madeleine Brook, “Constellatio Felix in 1719,” pp. 449–51.
• Philippe Bordes, “Prints and Propaganda in the Age of Napoleon,” pp. 453–55.
A full content list is available here»
Knole, Kent in the ‘NT Houses & Collections Annual, 2016’
Now available for free digitally, or as a hard copy through the National Trust:
The National Trust Historic Houses & Collections Annual 2016, published in association with Apollo, is dedicated to Knole in Kent and includes these essays on eighteenth-century topics:
• Camilla Beresford, “The Bird House At Knole.” Considers a mid-18th-century gothic curiosity that once housed a remarkable collection of exotic birds.
• Christopher Rowell and Wolf Burchard, “The Third Duke of Dorset and the First Earl Whitworth as Diplomatic Patrons and Collectors.” Considers the many examples of furniture at Knole associated with the French court on the eve and aftermath of the French Revolution.
• John Chu, “Thomas Gainsborough’s Portrait of Louis-Pierre, Marquis de Champcenetz.” On how the Marquis, whose portrait by Gainsborough returns to Knole this year, found refuge and friendship in England (the portrait was at Knole by 1793 and remained there until 1930).
A full list is available here»
Call for Articles | French Porcelain, 1789–1918
Makers, Markets, and Museums: French Porcelain in the Long Nineteenth Century, 1789–1918
The French Porcelain Society Journal 7 (2018)
Proposals due by 7 April 2017
The French Porcelain Society Journal is the leading academic English-language journal on European ceramics and their histories, illustrated throughout in full colour. The society is pleased to announce the publication of Volume 6, Céramiques sans Frontières: The Transfer of Ceramic Designs and Technologies across Europe. Based on the society’s 2015 symposium, fourteen articles investigate the impact of French ceramic design on makers elsewhere in Europe and in Britain in the eighteenth and nineteenth centuries. These range from an analysis of the transfer of the Istoriato maiolica tradition from Italy to France in the late sixteenth century and an account by J.V.G. Mallet of the travels of Walther Ehrenfried von Tschirnhaus to an investigation of the links between Sèvres and Minton porcelain in the nineteenth century. For a full list of contents or to order, please consult the society’s website.
The editors now invite submissions for volume 7 of the journal, Makers, Markets, and Museums: French Porcelain in the Long Nineteenth Century, 1789–1918, to be published in 2018. From the dispersal of Sèvres porcelain from royal palaces and aristocratic collections after the French Revolution to the founding of outstanding collections of French porcelain in Britain and the United States and the establishment of new museums for the decorative arts, the nineteenth century was undoubtedly one of seismic change. It witnessed the growth of a flourishing London art market and new departures in collecting French eighteenth-century decorative art, all encouraged by the rise of the dealer. Innovation in design and manufacture was documented in a plethora of printed specialist publications, pattern books and popular journals. It is hoped that this volume will enlarge our understanding of this under-researched but important aspect of ceramic history.
The journal will include an article based on the 2016 Geoffrey de Bellaigue lecture given to the society by Dr Tom Stammers (Durham University) on “Baron Jean-Charles Davillier: A Paragon and Historian of Taste in Nineteenth-Century France.” Topics for consideration could include:
• Nineteenth-century French ceramics or those of other factories influenced by them
• Nineteenth-century collectors
• Methods of display in the nineteenth-century interior
• The role of new museums, exhibitions, and publications in advancing the study and collecting of French ceramics
• The dealer, the auction, and the art market
• New technical advances in ceramic production
• Connoisseurship
Submissions in the first instance should be a summary of no more than 750 words, with a brief description of the argument, a historiography and a note of the research tools and sources used. Please include a brief CV. The journal accepts articles in French as well as in English. The volume will comprise about 15 articles which will be peer reviewed by the editorial board and the FPS council of academic and museum specialists which includes: Dame Rosalind Savill, DBE, FBA, FSA (Curator Emeritus, The Wallace Collection, London); Oliver Fairclough, FSA, John Whitehead, FSA, Patricia Ferguson, Errol Manners, FSA, Diana Davis and Caroline McCaffrey-Howarth (University of Leeds). Articles should be no more than 6,000 words in length excluding endnotes. Up to 15 high-resolution images per article will be accepted. Please send abstracts as an e-mail attachment to: diana_davis@hotmail.co.uk by 7 April 2017. If your abstract is accepted, articles and images will be due by 29 September 2017.
The Burlington Magazine, December 2016
The eighteenth century in The Burlington (the issue is dedicated to ‘Art in Britain’):
The Burlington Magazine 158 (December 2016)
A R T I C L E S
• Lydia Hamlett, “Pandora at Petworth House: New Light on the Work and Patronage of Louis Laguerre,” pp. 950–55.
• Jennifer Melville, “Lady Forbes of Monymusk: A Rediscovered Portrait by Joshua Reynolds,” pp. 956–60.
• Brendan Cassidy, “A Portrait by Gavin Hamilton: Sir John Henderson of Fordell,” pp. 961–63.
• Alex Kidson, “David Solkin’s Art in Britain, 1660–1815 (Paul Mellon Centre for Studies in British Art, 2015),” pp. 964–67.
L E T T E R S
• Peter Lindfield, “A Further Allusion to Strawberry Hill at Lee Priory, Kent,” p. 979.
• Nicholas Penny, “Hugh Honour,” p. 979.
R E V I E W S
• Susanna Avery-Quash, Review of Lucilla Burn, The Fitzwilliam Museum: A History (Philip Wilson Publishers, 2016), p. 980.
• Greg Smith, Review of the exhibition catalogue, Tim Barringer and Oliver Fairclough, Pastures Green & Dark Satanic Mills: The British Passion for Landscape (Giles, 2014), pp. 981–82.
• Barry Bergdoll, Review of Stefan Koppelkamm, The Imaginary Orient: Exotic Buildings of the 18th and 19th Centuries in Europe (Axel Munges, 2015), p. 982.
• Giles Waterfield, Review of the exhibition catalogue, Victoria Avery, Melissa Calaresu, and Mary Laven, eds., Treasured Possessions from the Renaissance to the Enlightenment (Philip Wilson Publishers, 2015), p. 988.
• Malcolm Bull, Review of the exhibition In the Light of Naples: The Art of Francesco de Mura (Cornell Fine Arts Museum, Rollins College, Winter Park, 2016; Chazen Museum, University of Wisconsin-Madison, 2017; The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, 2017), pp. 1006–07.
S U P P L E M E N T
• Tim Knox, “Recent Acquisitions (2012–16) at the Fitzwilliam Museum, Cambridge,” pp. 1017–28.
The Rumbold Desk, by an unknown craftsman from Vizagapatam, Southern India, ca. 1750–60, rosewood inlaid with ivory, silver handles, 76 × 113 × 62 cm. Accepted in Lieu of Inheritance Tax by HM Government and allocated to the Fitzwilliam Museum, 2016 (M.3–2016). This Anglo-Indian desk has been on loan to the Fitzwilliam Museum in Cambridge since 2012 and is one of the finest of a very small group of similar desks made for British patrons in India at Vizagapatam (near Madras), a centre for the manufacture of such luxurious ivory-inlaid furniture. It belonged to Sir Thomas Rumbold, 1st baronet (1736–91), a British administrator in India, who amassed a great fortune in the service of the East India Company and served as Governor of Madras from 1777 to 1780.
First Issue of ‘Art History Pedagogy and Practice’ Released
From AHTR:
Art History Teaching Resources (AHTR) is thrilled to release the inaugural issue of Art History Pedagogy and Practice (AHPP), the first academic journal dedicated to the scholarship of teaching and learning in art history (SoTL-AH). The result of a two year initiative, generously funded by the Samuel H. Kress Foundation, AHPP responds to the need to support, collect, and disseminate pedagogical research specific to the discipline. Published biannually by AHTR in partnership with the Graduate Center for the City University of New York and the CUNY Office of Library Services, AHPP is available as an open access e-journal on Academic Works, CUNY’s Digital Commons repository.
With its first issue, “What’s the problem with the introductory art history survey?” AHPP seeks to advance a long-running conversation in art history by exploring issues related to the introductory survey course. A robust response to the initial call for papers revealed that discourse around this topic has evolved in recent years to reflect current changes across the educational landscape. Faculty today acknowledge a broader range of skills and content to be foundational to art historical study and the significant role of digital technology in instructional practice, but research is necessary to examine the impact of new pedagogies when applied in the classroom.
The Scholarship of Teaching and Learning in Art History
The scholarship of teaching and learning (SoTL) encourages scholars to investigate their teaching practice with the same curiosity and intellectual rigour used to approach key research questions in their discipline. While SoTL research encompasses many interests, it generally involves asking meaningful questions about student learning and how it can be improved; conducting research into teaching and learning that is systematic, analytical, evidence-based, and uses a variety of research methods; and sharing the results of that inquiry to benefit colleagues and contribute to a growing body of knowledge around teaching and learning.
As a peer-reviewed journal, AHPP developed as a natural outgrowth of the AHTR Weekly, a lively and wide-ranging blog series where diverse practitioners write about their teaching ideas and experiences. Together, these forums offer a digital model of publication where informal and formal SoTL exchange can complement one another and foster public-facing discourse about education in the humanities. The articles in first issue explore different models of inquiry appropriate to SoTL in art history. They include case studies and qualitative data in the form of student comments, personal reflections, and observations in the classroom, and address quantifiable measurements around learning outcomes, graded performance, and other methods used in education and the learning sciences. Most importantly they ask questions that are important to developing conceptual frameworks for pedagogical practice in art history, and serve as a point of departure for future study in this emerging area of the discipline.
AHTR
ArtHistoryTeachingResources.org (AHTR) is a online platform that connects a diverse field of practitioners teaching art history and visual culture. The site currently provides an evolving repository of adaptable lesson plans; a weekly blog of shared assignments, teaching ideas, and reflective essays; and biannual publication of Art History Pedagogy and Practice. Founded on dual goals to raise the value of the academic labor of teaching and to provide peer support across ranks of tenured, tenure-track, and contingent instructors, AHTR began in 2011 as a collaboration between Michelle Millar Fisher (CUNY, MOMA) and Karen Shelby (Baruch College, CUNY), who created the arthistoryteachingresources.org website with support from the New Media Lab at the CUNY Graduate Center. Since its public launch in 2013, AHTR has grown an average of 120% each year and has been viewed over 500,000 times by educators in K-12, post-secondary institutions, and art museums, and academic support staff including reference librarians and curriculum designers. AHTR’s administration has similarly expanded to a leadership collective of art historians and an advisory network assembled for expertise and leadership in art history, museum education, and digital humanities.
AHTR believes that effective high-quality instruction is essential to the future of art history. We are excited to contribute to this goal by providing a platform for scholarly discourse and publication on teaching and learning in art history, and look forward to the next issue of AHPP in Spring 2017. We are grateful for the support, encouragement, and hard work of so many people who have helped to realize this major initiative. In addition to the authors and peer reviewers who contributed content to AHPP’s inaugural issue, we wish to thank Jill Cirasella and Megan Wacha at CUNY, Jillian Clark at bepress, Danielle Maestretti at Flexport, CHIPS, Max Marmor, Lisa Schermerhorn, and Wyman Meers at the Kress Foundation, AHPP’s Advisory Board, and co-editors Renee McGarry and Virginia B. Spivey.
Art History Pedagogy and Practice 1.1 (December 2016)
• Virginia B. Spivey and Renee McGarry — Editor’s Introduction: Advancing SoTL-AH
• Aditi Chandra, Leda Cempellin, Kristen Chiem, Abigail Lapin Dardashti, Radha J. Dalal, Ellen Kenney, Sadia Pasha Kamran, Nina Murayama, and James P. Elkins — Looking Beyond the Canon: Localized and Globalized Perspectives in Art History Pedagogy
• Melissa R. Kerin and Andrea Lepage — De-Centering ‘The’ Survey: The Value of Multiple Introductory Surveys to Art History
• Beth Harris and Steven Zucker — Making the Absent Present: The Imperative of Teaching Art History
• Julia A. Sienkewicz — Against the ‘Coverage’ Mentality: Rethinking Learning Outcomes and the Core Curriculum
• Glenda M. Swan — Building a Foundation for Survey: Employing a Focused Introduction
Netherlands Yearbook for History of Art, November 2016
Latest issue of NKJ:
Thijs Weststeijn, Eric Jorink and Frits Scholten, eds., Netherlandish Art in its Global Context (Leiden: Brill, 2016), 296 pages, ISBN: 978-9004334977, €105 / $123. [Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 66 (November 2016)].
Netherlandish art testifies to the interconnectedness of the Early Modern world. New trade routes, the international Catholic mission, and a thriving publishing industry turned Antwerp and Amsterdam into capitals of global exchange. Netherlandish prints found a worldwide public. At home, everyday lives changed as foreign luxuries, and local copies, became widely available. Eventually, Dutch imitations of Chinese porcelain found their way to colonists in Surinam. This volume of the Netherlands Yearbook for History of Art breaks new ground in applying the aims and approaches of global art history to the Low Countries, with essays ranging from Greenland to South Africa and Mexico to Sri Lanka. The Netherlands, as a fringe area of the Habsburg Empire marked by internal fault lines, demonstrated remarkable artistic flexibility and productivity in the first period of intensive exchange between Europe and the rest of the world.
Thijs Weststeijn, PhD (2005), University of Amsterdam, is professor of art history before 1850 at Utrecht University. He chairs the research project The Chinese Impact: Images and Ideas of China in the Dutch Golden Age (2014–19).
Eric Jorink, PhD (2004), University of Groningen, is Teylers professor at Leiden University and researcher at the Huygens Institute (KNAW). He is the author of Reading the Book of Nature in the Dutch Golden Age, 1575–1715.
Frits Scholten, PhD (2003), University of Amsterdam, is senior curator of sculpture at the Rijksmuseum and holds the chair in the History of Western Sculpture before 1800 at the Universiteit van Amsterdam. He has published widely on Western sculpture and decorative arts. His most recent publication is Small Wonders: Late-Gothic Boxwood Micro-carvings from the Low Countries (Amsterdam 2016).
C O N T E N T S
• Thijs Weststeijn, Introduction: Global Art History and the Netherlands
• Nicole Blackwood, Meta Incognita: Some Hypotheses on Cornelis Ketel’s Lost English and Inuit Portraits
• Stephanie Porras, Going Viral? Maerten de Vos’s St Michael the Archangel
• Christine Göttler, ‘Indian Daggers with Idols’ in the Early Modern Constcamer: Collecting, Picturing and Imagining ‘Exotic’ Weaponry in the Netherlands and Beyond
• Barbara Uppenkamp, ‘Indian’ Motifs in Peter Paul Rubens’s The Martyrdom of Saint Thomas and The Miracles of Saint Francis Xavier
• Thijs Weststeijn and Lennert Gesterkamp, A New Identity for Rubens’s ‘Korean Man’: Portrait of the Chinese Merchant Yppong
• Ebeltje Hartkamp-Jonxis, Sri Lankan Ivory Caskets and Cabinets on Dutch Commission, 1640–1710
• Julie Berger Hochstrasser, A South African Mystery: Remarkable Studies of the Khoikhoi
• Ching-Ling Wang, A Dutch Model for a Chinese Woodcut: On Han Huaide’s Herding a Bull in a Forest
• Annemarie Klootwijk, Curious Japanese Black: Shaping the Identity of Dutch Imitation Lacquer
• Thomas DaCosta Kaufmann, The ‘Netherlandish model’? Netherlandish Art History as/and Global Art History
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