December 2011 Issue of ‘The Art Bulletin’
The eighteenth century in the latest issue of The Art Bulletin:
James M. Córdova, “Clad in Flowers: Indigenous Arts and Knowledge in Colonial Mexican Convents,” The Art Bulletin 93 (December 2011): 449-67.
Nuns in New Spain (colonial Mexico) wore spectacular flowery trappings when they professed and again when reposing on their funeral biers. Local artists, commissioned by the nuns’ families and convents, captured these stunning images. Despite differences in ethnicity, religious order, age, and other factors that distinguished these women, their flowery trappings have the effect of establishing an iconic image of the New Spanish nun. Furthermore, their regalia, which combine Euro-Christian and Mesoamerican practices and beliefs, not only represented the preeminence of the “brides of Christ,” they also conjured the spiritual transformations that nuns experienced in their ritual lives.
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Étienne P. H. Jollet, Review of Frank Fehrenbach’s Compendia Mundi: Gianlorenzo Berninis “Fontana dei Quattro Fiumi” (1648-51) und Nicola Salvis “Fontana di Trevi” (1732-62), The Art Bulletin 93 (December 2011): 491-94.
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N.B. — Notice of Jollet’s review did not appear in the original posting from 2 December 2011; it was added on 9 February 2012. I apologize for the initial oversight. -CH
November Issue of ‘The Burlington’
The Burlington Magazine 153 (November 2011)
Articles
• Gauvin Alexander Bailey and Fernando Guzmán, “The ‘St Sebastian’ of Los Andes: A Chilean Cultural Treasure Re-examined,” pp. 721-26. — A discussion of the polychrome statue of St Sebastian (c.1730-35) in Los Andes, Chile, which is here attributed to Adam Engelhard.
• Chiara Teolato, “Roman Bronzes at the Court of Gustavus III of Sweden: Zoffoli, Valadier and Righetti,” pp. 727-33. — The provenance and installation of Roman bronzes by Giacomo Zoffoli, Luigi Valadier and Giovan Battista Piranesi in the collection of Gustavus II of Sweden.
Reviews
• Tommaso Manfredi, Review of Heather Hyde Minor, The Culture of Architecture in Enlightenment Rome (University Park: Penn State University, 2010), p. 749.
Call for Articles: Excess and Moderation for ‘Frame’
Excess/Moderation Theme for Next Issue of Frame: Journal of Visual and Material Culture
Manuscripts due by 15 November 2011
Frame invites scholarly submissions from a variety of disciplines that engage somehow with visual and/or material culture using unique methodologies. Possible areas of interest include art, architecture, film, visual culture, design, built environment, television, material culture, or other domains that engage with visual content from a variety of perspectives. We are particularly attracted to scholarly work that transverses traditional disciplinary borders and creates fresh approaches to the study of visual art and related areas.
This issue is themed “Excess/Moderation.” A mind-map that serves the function of suggesting topics is available on the Frame website (www.framejournal.org). Please see the website for the style-sheet as well. Papers should not exceed 10,000 words, unless for special exception. Manuscripts should be submitted electronically in .doc or .docx format. A separate document that includes a 200-word abstract, full name, email address, phone number, and institutional affiliation should accompany the article. Send all inquiries to the Managing Editor, Shawn Rice, at editor@framejournal.org.
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Frame is a scholarly, peer-reviewed online publication edited by graduate students of the City University of New York Graduate Center. This journal is a re-imagined, interdisciplinary continuation of PART: The Journal of the Ph.D. Program in Art History at the Graduate Center.
The Eighteenth Century in the October Issue of The Burlington
The Burlington Magazine 153 (October 2011)
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Editorial
• The Holburne Museum, Bath
. . . Earlier this year, the Museum received extensive publicity when it re-opened after renovation and an extension carried out by Eric Parry Architects. This has included the daring and entirely successful moving of the central staircase of the house, to a few feet to the left, unblocking the vista through the ground-floor entrance to the gardens at the back; a beautiful full-height glass extension to the rear of the building that creates temporary exhibition rooms and a greater feeling of light and air; and the almost complete redisplay of the collections. While it has to be admitted that the Museum is distinctly eclectic and charmingly provincial (and in places still fussily crowded), in its renovated state its former shabby gentility has been vanquished. It now presents itself like Gainsborough’s Lord and Lady Byam, stepping out with the next generation, all in their finery, to greet the future.
The full editorial is available here»
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Articles
• Antonello Cesareo, “New Portraits of Thomas Jenkins, James Byres and Gavin Hamilton” — Two new portraits of Thomas Jenkins and James Byres by Anton von Maron and a self-portrait by Gavin Hamilton.
• Christopher Baker, “Robert Smirke and the Court of the Shah of Persia” — A watercolour study by Robert Smirke in the National Gallery of Scotland, Edinburgh, for a painting of the court of the Shah of Persia.
• Duncan Bull and Anna Krekeler, with Matthias Alfeld, Doris Jik, and Koen Janssens, “An Intrusive Portrait by Goya” — The discovery of an earlier three-quarter length portrait of a man by Goya beneath his Portrait of Ramón Satué (1823) in the Rijksmuseum, Amsterdam.
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Books
• Philip McEvansoneya, Review of N. Glendinning and H. Macartney, eds., Spanish Art in Britain and Ireland, 1750–1920: Studies in Reception in Memory of Enriqueta Harris Frankfort.
• Mark Stocker, Review of M. Kisler, Angels and Aristocrats: Early European Art in New Zealand Public Collections.
• Luke Herrmann, Review of M. and J. Payne, Regarding Thomas Rowlandson (1757–1827): His Life, Art & Acquaintance and P. Phagan, Thomas Rowlandson: Pleasures and Pursuits in Georgian England.
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Exhibitions
• Xavier F. Salomon, Young Tiepolo
In the September 2011 Issue of ‘The Art Bulletin’
The eighteenth century in the latest issue of The Art Bulletin:
Jean-Louis Laneuville, "The Citoyenne Tallien in the Prison of La Force, Holding Her Hair Which Has Just Been Cut," exhibited at the Salon of 1765.
Amy Freund, “The Citoyenne Tallien: Women, Politics, and Portraiture during the French Revolution,” The Art Bulletin 93 (September 2011): 325-44.
Portraiture dominated visual culture in France after 1789 because it addressed the central challenge of the Revolution: how to turn subjects into citizens. Women, however, were rarely included in Revolutionary definitions of citizenship. Jean-Louis Laneuville’s 1796 portrait of Thérésia Cabarrus, better known as Mme Tallien, negotiates female subjectivity and political participation in radically new ways, inserting its sitter into debates about the place of women in the new republic. The ambitions and failures of Cabarrus’s likeness speak to the ambitions and failures of French portraiture after 1789.
July Issue of ‘The Burlington’
The Burlington Magazine 153 (July 2011)
• Gerlinde Klatte, “New documentation for the ‘Tenture des Indes’ tapestries in Malta” — Unpublished documents on the Anciennes Indes tapestry set (1708–10) woven by Etienne Le Blond for the Order of St John, Valletta, Malta.
Reviews
• Ann Compton, Review of Rune Frederikson and Eckart Marchand, eds., Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present (Berlin and New York, 2010),
• Rose Kerr, Review of Robert Finlay, The Pilgrim Art: Cultures of Porcelain in World History (Berkeley, 2010)
• Humphrey Wine, Review of the exhibitions, Watteau’s Drawings, Watteau and His Circle
• Todd Longstaffe-Gowan, Review of the exhibition, French Romantic Gardens
• Neil Jeffares, Review of the exhibition, Pastel Portraits
May Issue of ‘The Burlington’
This posting on eighteenth-century topics from the May issue of The Burlington is long overdue, but given the discovery of a new Watteau document, I wanted to include it all the same — in hopes of sending good luck to all of you busy in the archives this summer. Good hunting! -CH.
The Burlington Magazine 153 (May 2011)
• François Marandet, “Jean-Antoine Watteau: The First Documents,” pp. 312-13.
Newly discovered notarial acts from the National Archives in Paris clarify what happened to the painter’s property after his death in 1721, revising Gersaint’s account on two accounts.
• Todd Magreta, “Marius at Minturnae by Jean-Germain Drouais: A Classical Source and the Sublime,” pp. 314-17.
An examination of Marius at Minturnae (1786) by Jean-Germain Drouais.
• Satish Padiyar, “Neoclassicisms,” pp. 357-58.
Review of the exhibition, L’Antiquité rêvée / Antiquity Rediscovered.
June 2011 Issue of ‘The Art Bulletin’ — In Memory of Anne Schroder
Fragonard, "The Meeting," from the Progress of Love, 1771-73 (NY: The Frick Collection)
The June issue of The Art Bulletin is dedicated to the memory of Anne L. Schroder, who passed away suddenly in December 2010. The issue includes her article, “Fragonard’s Later Career: The Contes et Nouvelles and the Progress of Love Revisited,” pp. 150-177.
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Abstract: Late in his career, which spanned the Revolution and beyond, Honoré Fragonard revived two major projects in limbo since 1773. His unsuccessful effort to have engraved his illustrations for La Fontaine’s Contes et nouvelles (17880-1809) demonstrates the dramatic upheavals in the post-Revolutionary print market and publishing industries and shifting reactions to his art. The unfinished series Progress of Love, expanded and recontextualized by the artist during the late 1790s and early 1800s, reveals Fragonard’s adaptation of his perennial subjects — flirtation, love, and picturesque nature — to changing cultural attitudes regarding the sexual power of women in the aftermath of the Revolution.
In the May Issue of ‘Apollo’: From the Landsdowne Collection
From Apollo:
Elizabeth Angelicoussis, “Diomedes and Diskobolus,” Apollo Magazine (May 2011)
Among the collection of classical sculpture belonging to the 1st Marquess of Lansdowne was a Roman copy of a lost bronze of Diskobolus by the Greek sculptor Myron. Excavated by the dealer Gavin Hamilton in 1774, the marble’s fascinating story has much to reveal about late 18th-century.
. . . It is hoped that this article’s examination of this particular distinctive Lansdowne sculpture and its interesting history will stimulate awareness in a new book, developed by this author in conjunction with Ian Jenkins, Senior Curator of Greek and Roman Antiquities at the British Museum and Daniella Ben-Arie, co-curator of the 2008 Thomas Hope exhibition at the Victoria and Albert Museum. The book aims to rediscover, examine, photograph and interpret the once coherent group of Lansdowne sculptures that is now widely dispersed across the globe. . . .
A brief bit of online searching for details regarding the new book turned up nothing, though presumably we will hear more in the coming months. -CH
This Month’s ‘Burlington Magazine’
This month’s issue of The Burlington Magazine is devoted to British Art with the following eighteenth-century offerings:
The Burlington Magazine 153 (April 2011)
- Richard Hewlings, “Nicholas Hawksmoor in Chester,” pp. 224-28.
- Hugh Belsey, “Reading the Caricature Groups of Thomas Patch,” pp. 229-31.
- Malcolm Warner, Review of British Paintings in the Metropolitan Museum of Art, 1575-1875, Katharine Baetjer, p. 257.
- Brian Allen, Review of James Barry, 1741-1806: History Painter, ed. Tom Dunne and William Pressly, pp. 258-59.
- Timothy Wilcox, Review of Constable, Jonathan Clarkson, pp. 259-60.
- Giles Waterfield, Review of The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism, Craig Hanson, pp. 266-67.
- Alex Kidson, Review of the exhibition Georgian Faces: Portrait of a County, pp. 274-75.
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