Metropolitan Museum Journal 2024
The latest issue of The Met’s journal, with a reminder that digital copies are free! This year’s due date for submissions is 15 September; guidelines are available here.
Metropolitan Museum Journal 59 (2024)
Nicolás Enríquez, The Virgin of Guadalupe with the Four Apparitions, 1773, oil on copper, 56.5 × 41.9 cm (New York: The Metropolitan Museum of Art, 2014.173).
a r t i c l e s
• Ally Kateusz, “Women at the Altar of Jesus’s Tomb in the Anastasis,” pp. 8–25.
• Melanie Holcomb, “The Architecture of ‘Playe’: Henry Hamlyn’s House in Tudor Exeter,” pp. 26–42.
• Ayşe AldemIr, “Ottoman Tastemaker Robert-Sadia Pardo and a Sixteenth-Century Prayer Rug in The Met,” pp. 43–57.
• Kelly Presutti, “Wood and Stone: Bernard Palissy’s Environmental Legacy,” pp. 58–72.
• Kristel Smentek and Christian Katschmanowski, “Oysters, Sauerkraut, and Pagods: Sibylla Augusta’s Chinese Banquet of 1729,” pp. 73–93.
• Ronda Kasl, “For the Devotion of Juan Bautista de Echeverría: Piety and Identity in Paintings by Nicolás Enríquez,” pp. 94–111.
• Nader Sayadi, “Imperial Threads: Kashmiri Shawls in Nineteenth-Century Iran,” pp. 113–29.
r e s e a r c h n o t e
• Rachel Lackner, Shirin Fozi, and Kisook Suh, “Julius Caesar from the Heroes Tapestries at The Met Cloisters: Dye Analysis and Molecular Insights,” 130–43.
The Burlington Magazine, February 2025
Claude-Joseph Vernet, Shipwreck on a Rocky Coast, 1775, oil on canvas, 74 × 108 cm (Private Collection). The work and its pendant, Harbour Scene at Sunset, are identified by Yuriko Jackall as paintings acquired directly from the artist by François-Marie Ménage de Pressigny, who likely commissioned The Swing by Fragonard. In contrast to the latter, which in 1794 was valued at 400 livres, the two paintings by Vernet were valued at 4,000 livres—the most valuable paintings owned by Ménage de Pressigny.
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The long 18th century in the February issue of The Burlington:
The Burlington Magazine 167 (February 2025)
e d i t o r i a l
• “Cataloguing,” p. 79.
It is one of the basic responsibilities of major collections to research and publish the works of art in their care. Such projects can take many years to mature and are often abandoned because of a lack of funding or shifting institutional priorities. It might be imagined, therefore, that because of these threats and the formidable cost of producing specialist and richly illustrated books, that collection catalogues would have become an extinct species. However, happily, a close reading of this Magazine in recent months would suggest otherwise, across a wide range of media and in terms of a broad chronological span . . .
a r t i c l e s
• Lucy Wood and Timothy Stevens, “The Elder Sisters of The Campbell Sisters: William Gordon Cumming’s Patronage of Lorenzo Bartolini,” pp. 126–53.
s h o r t e r n o t i c e s
• Yuriko Jackall, “Ménage de Pressigny and His Art Collection,” pp. 157–61.
• Dyfri Williams, “Lusieri’s Mysterious Wooded Lake Identified,” pp. 161–63.
r e v i e w s
• Marjorie Trusted, Review of the exhibition Luisa Roldán: Escultora Real (Museo Nacional de Escultura, Valladolid, 2024–25), pp. 164–66.
• Karin Hellwig, Review of the exhibition Hand in Hand: Sculpture and Colour in the Spanish Golden Age (Prado, 2024–25), pp. 166–69.
• William Whyte, Review of Simon Bradley, Nikolaus Pevsner and Jennifer Sherwood, Oxfordshire: Oxford and the South-East, The Buildings of England (Yale UP, 2023), pp. 188–89.
• Elizabeth Savage, Review of Esther Chadwick, The Radical Print: Art and Politics in Late Eighteenth-Century Britain (Paul Mellon Centre for Studies in British Art, 2024), pp. 194–96.
8th Annual Ricciardi Prize from Master Drawings
From Master Drawings:
Eighth Annual Ricciardi Prize from Master Drawings
Submissions due by 15 November 2025
George Romney, Lady Seated at a Table (recto); pen and brown ink, brush and brown wash (NY: The Metropolitan Museum of Art, 11.66.3).
Master Drawings is now accepting submissions for the 8th Annual Ricciardi Prize of $5,000. The award is given for the best new and unpublished article on a drawing topic (of any period) by a scholar under the age of 40. Candidates are also eligible for a $1000 runner-up prize and publication. Prize winners are eligible for reimbursement of costs associated with obtaining image publication permissions. They will be invited to present their research at a symposium held during Master Drawings Week in New York (January 2026). Information about essay requirements and how to apply can be found here. Information about past winners and finalists is available here.
The average length is between 2,500 and 3,750 words, with five to twenty illustrations. Submissions should be no longer than 7,500 words and have no more than 75 footnotes. All submissions must be in article form, following the format of the journal. Please refer to our Submission Guidelines for additional information. We will not consider submissions of seminar papers, dissertation chapters, or other written material that has not been adapted into the format of a journal article. Written material that has been previously published, or is scheduled for future publication, will not be eligible. Articles may be submitted in any language. Please be sure to include a 100-word abstract outlining the scope of your article with your submission.
The Magazine of the Decorative Arts Trust, Winter 2024–25
The Decorative Arts Trust has shared select articles from the winter issue of their member magazine as webpages for all to enjoy. The following articles are related to the 18th century.
The Magazine of the Decorative Arts Trust, Winter 2024–25
• “Written in Stone” by Catherine Carlisle Link»
• “The Rivers Collection of Charleston Furniture at the Gibbes Museum of Art” by Matthew A. Thurlow Link»
• “Carved from the Sea: The Art and History of Nantucket’s Pictorial Scrimshaw” by Keely Edgington Link»
• “Diplomatic Reception Rooms Anchor D.C. Gathering” by Matthew A. Thurlow Link»
• “Figuring the Black Body in European Decorative Arts” by Adrienne L. Childs Link»
• “Colonial Architecture, Decorative Arts, and Enslavement at the Colonel John Ashley House” by Livy Scott Link»
• “Convergence at the Market: Vernacular Artisans and Literati in Late Imperial China” by Danielle Zhang Link»
The printed Magazine of the Decorative Arts Trust is mailed to Trust members twice per year. Memberships start at $50, with $25 memberships for students.
Magazine cover: Detail of an early-17th-century table top from Villa La Pietraia, on display at the Opificio delle Pietre Dure in Florence, Italy.
Master Drawings, Winter 2024
In the latest issue of Master Drawings:
Master Drawings 62.4 (Winter 2024)
a r t i c l e s
• Perrin Stein, “The Crown, the City, and the Public: Saint-Aubin’s Images of Paris.”
• Kim de Beaumont, “A Curious Swan Song for Gabriel de Saint-Aubin: The Comte d’Estaing’s New World Naval Exploits.”
• Margaret Morgan Grasselli, “A Drawing by Hubert Robert and Jean Robert Ango: Correcting a Technical Description.”
• Sarah Catala, “Signed ‘Roberti’: Drawings by Hubert Robert and Jean Robert Ango.”
• Kee Il Choi Jr., “Learning to Draw: The Éducation visuelle of Alois Ko and Étienne Yang.”
r e v i e w s
• Aaron Wile, Review of the exhibition catalogue Claude Gillot: Satire in the Age of Reason, by Jennifer Tonkovich.
• Eduoard Kopp, Review of the exhibition catalogue, Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque Nationale de France, edited by Esther Bell, Sarah Grandin, Corinne Le Bitouzé, and Anne Leonard.
• Ashley E. Dunn, Review of the exhibition catalogue Impressionists on Paper: Degas to Toulouse-Lautrec, by Ann Dumas, Leïla Jarbouai, Christopher Lloyd, and Harriet Stratis.
o b i t u a r y
• Perrin Stein, Obituary for Alaster Laing.
The Burlington Magazine, January 2025
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Stefano Tofanelli, Apotheosis of Romulus before the Gods of Olympus, 1790, oil on canvas, 208 × 318 cm
(Rome: Palazzo Altieri)
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The long 18th century in the January issue of The Burlington:
The Burlington Magazine 167 (January 2025)
e d i t o r i a l
• “A One Billion Pound Gift,” p. 3.
“Now you can gasp,” said the Chairman of the Trustees of the British Museum to guests at a recent fundraising dinner. He had just revealed the valuation of £1billion for the magnificent collection of Chinese ceramics that has been given to the museum by the Sir Percival David Foundation. Munificence on this scale is normally only associated with the richest of American museums, so a new record seems to have been set in the European context by this extraordinary gesture.
Buddha Amida (Amitabha), Japan, 1716 (Collection Wereldmuseum). Included in the exhibition Asian Bronze: 4,000 Years of Beauty.
s h o r t e r n o t i c e s
• Pilar Diez del Corral Corredoira, “A Project for the Church of Menino Deus, Lisbon, by Vieira Lusitano,” pp. 26–29.
• Alessio Cerchi, “Stefano Tofanelli’s Deification of Aeneas by Venus Rediscovered,” pp. 29–31.
r e v i e w s
• Lori Wong and Sujatha Arundathi Meegama, Review of the exhibition Asian Bronze: 4,000 Years of Beauty (Rijksmuseum, 2024–25), pp. 35–37.
• Delphine Bastet, Review of Grands décors restaurés de Notre-Dame de Paris, edited by Caroline Piel and Emmanuel Pénicaut (Silvana Editoriale, 2024), pp. 62–63.
• Peter Humfrey, Review of Anne Nellis Richter, The Gallery at Cleveland House: Displaying Art and Society in Late Georgian London (Bloomsbury, 2024), pp. 71–72.
The Burlington Magazine, December 2024
The long 18th century in the December issue of The Burlington:
The Burlington Magazine 166 (December 2024)
e d i t o r i a l
• “A ‘Grand Life’: Belle da Costa Greene,” pp. 1203–04.
New York’s Morgan Library & Museum was founded as a public institution in 1924 and its centenary this year has been celebrated in style. The most substantial project to form part of the anniversary is the exhibition (25th October–4th May 2025) on Belle da Costa Greene (1879–1950), the museum’s inaugural Director. This is an exercise in fascinating institutional storytelling, but at the same time also considerably more, as Greene was an extraordinary and accomplished figure.
l e t t e r
• Elizabeth Cropper, “Further Notes on boîtes à portrait’,” p. 1205.
A response to Samantha Happé’s article in the October issue of The Burlington: “Portable Diplomacy: Louis XIV’s ‘boîtes à portrait’,” pp. 1036–43.
r e v i e w s
• Richard Rand, Review of the exhibition Revoir Watteau: Un comédien sans réplique. Pierrot, dit le ‘Gilles’ (Louvre, 2024–25), pp. 1238–40.
• Gauvin Alexander Bailey, Review of the exhibition Paris through the Eyes of Saint-Aubin (The Metropolitan Museum of Art, 2024-25), pp. 1249–50.
• Denise Amy Baxter, Review of the exhibition The Legacy of Vesuvius: Bourbon Discoveries on the Bay of Naples (Meadows Musem, 2024), pp. 1251–53.
• Camilla Pietrabissa, Review of the exhibition catalogue L’arte di tradurre l’arte: John Baptist Jackson incisore nella Venezia del Settecento, ed. by Orsola Braides, Giovanni Maria Fara, and Alessia Giachery (Biblioteca Marciana, 2024), pp. 1270–72.
The British printmaker John Baptist Jackson was active in Venice from 1731 to 1745.
• Tom Stammers, Review of Oliver Wunsch, A Delicate Matter: Art, Fragility, and Consumption in Eighteenth-Century France (Pennsylvania State University Press, 2024), pp. 1285–86.
o b i t u a r y
• Simon Jervis, Obituary for Georg Himmelheber (1929–2024), pp. 1287–88.
A pioneering historian of furniture and a curator at Karlsruhe and Munich, Georg Himmelheber was also a founder member of the Furniture History Society; although his expertise encompassed many periods and styles, he was perhaps best known for his work on ‘Biedermeier’ furniture.
s u p p l e m e n t
• “Acquisitions by Public Collections across the UK (2013–23) Made Possible by the Acceptance in Lieu of Tax and Cultural Gifts Schemes,” pp. 1289ff.
Print Quarterly, December 2024
The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 41.4 (December 2024)
a r t i c l e s
Nicholas de Courteille, presumably after Jean Pierre Bouch, Jean Charles Pierre Lenoir, 1779, soft-ground etching, 308 × 235 mm (Paris, Musée Carnavalet, Histoire de Paris).
• Dorinda Evans, “Jean Pierre Bouch, A Rediscovered Polymath”, pp. 394–407. This article attempts to compile the real identity and life story of the French artist Jean Pierre Bouch (1765–1820), whose diverse career included being a balloonist and pyrotechnician as well as portrait artist.
n o t e s a n d r e v i e w s
• Christian Rümelin, Review of Jean-Gérald Castex, ed., Graver pour le Roi: Collections Historiques de la Chalcographie du Louvre (Louvre éditions and Lienart éditions, 2019), pp. 434–37.
• Evonne Levy, Review of Bettina Wassenhoven, Gravuren nach Skulpturen – Skulpturen nach Gravuren (Konigshausen & Neumann, 2021), pp. 437–38.
• Simon McKeown, Review of Rosa de Marco and Agnès Guiderdoni, eds., Eliciting Wonder: The Emblem on the Stage (Librairie Droz, 2022), pp. 438–41.
• Clarissa von Spee, Review of Anne Farrer and Kevin McLoughlin, eds., The Handbook of the Colour Print in China, 1600–1800 (Brill, 2022), pp. 441–45.
• Nicholas JS Knowles, “The First British Caricature in Aquatint?,” pp. 445–47.
• Bénédicte Maronnie, Reviews of Chiara Casarin and Pierluigi Panza, eds., Giambattista Piranesi: Architetto senza tempo / An Architect out of Time (Silvana Editoriale, 2020); Moritz Wullen and Georg Schelbert, eds., Das Piranesi-Prinzip (E.A. Seeman Verlag, 2020); and Carolyn Yerkes and Heather Hyde Minor, Piranesi Unbound (Princeton University Press, 2020), pp. 469–73.
b o o k s r e c e i v e d
• Jennifer Milam and Nicola Parsons, eds., Making Ideas Visible in the Eighteenth Century (University of Delaware Press, 2021), p. 460.
• Ian Haywood, Queen Caroline and the Power of Caricature in Georgian England (Palgrave Macmillan, 2023), p. 460.
The Burlington Magazine, November 2024
The long 18th century in the November issue of The Burlington:
The Burlington Magazine 166 (November 2024)
e d i t o r i a l
“The Life Cycle of Art History,” p. 1099.
Art history is withering. Art history is flourishing. Which of these statements is true? Very mixed impressions can be gathered from across the United Kingdom, where the future health and reach of the academic discipline is far from clear. Amid all this uncertainty, however, there are some inspiring developments that should be applauded.
a r t i c l e s
• Maichol Clemente, “‘Une pièce fort singulière’: The Rediscovery of Gian Lorenzo Bernini’s Andromeda and the Sea Monster,” pp. 1100–22.
An important early sculpture by Gian Lorenzo Bernini, Andromeda and the Sea Monster, is here attributed to him and published for the first time. It displays all the finesse and invention that characterises the work of his youth and is also notable for having been offered to Jean-Baptiste Colbert, First Minister of Louis XIV, before forming part of the collection of the Prince of Soubise [in the eighteenth century.]
r e v i e w s
• William Barcham, Review of the exhibition catalogue, Les Tiepolo: Invention et Virtuosité à Venise, edited by Hélène Gasnault with Giulia Longo and a contribution by Catherine Loisel (Beaux-Arts de Paris, 2024), pp. 1176–78.
• Erin Griffey, Review of the exhibition catalogue, Style & Society: Dressing the Georgians, by Anna Reynolds (Royal Collection Trust, 2023), pp. 1178–80.
• Philippa Glanville, Review of the catalogue of the Louvre’s silverware, Orfèvrerie de la Renaissance et des temps modernes: XVIe, XVIIe et XVIIIe siècles: La Collection du Musée du Louvre, by Michèle Bimbenet-Privat, Florian Doux, and Catherine Gougeon, with Philippe Palasi, 3 volumes (Éditions Faton, 2022), pp. 1186–87.
• Giulio Dalvit, Review of the catalogue, Galleria Borghese: Catalogo Generale I: Scultura Moderna, edited by Anna Coliva with Vittoria Brunetti (Officina Libraria, 2022), pp. 1192–93.
• Gauvin Alexander Bailey, Collective Creativity and Artistic Agency in Colonial Latin America, edited by Maya Stanfield-Mazzi and Margarita Vargas-Betancourt (University of Florida Press, 2023), pp. 1193–94.
• Charles Avery, Review of Die Bronzen des Massimiliano Soldani Benzi (1656–1740): Representationsstrategien des europäischen Adels um 1700, by Carina Weißmann (De Gruyter, 2022), p. 1195.
• Pierre Rosenberg, Review of the catalogue, French Paintings 1500–1900: National Galleries of Scotland, by Michael Clarke and Frances Fowle, 2 volumes (National Galleries of Scotland, 2023), pp. 1196–97.
Netherlands Yearbook for History of Art | Women, 1500–1950
The latest issue of NKJ:
Elizabeth Alice Honig, Judith Noorman, and Thijs Weststeijn, eds., Women: Female Roles in Art and Society of the Netherlands, 1500–1950, Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 74 (2024), ISBN: 978-9004710740, $162.
Long overdue in the history of the Netherlands Yearbook for History of Art, this volume foregrounds women as creators, patrons, buyers, and agents of change in the arts of the Low Countries. Venturing beyond the participation of ‘exceptional’ individuals, chapters investigate how women produced paintings, sculptures, scientific illustrations, and tapestries as well as their role in architectural patronage and personalized art collections. Teasing out a variety of socio-economic, legal, institutional, and art-theoretical dimensions of female agency, the volume highlights the role of visual culture in women’s lived experience and self-representation, asking to what extent women challenged, subverted, or confirmed societal norms in the Netherlands.
Elizabeth Alice Honig is Professor of Northern European Art at the University of Maryland, and Professor Emerita at the University of California, Berkeley. She works on Dutch, Flemish, and British art.
Judith Noorman is Associate Professor in Early Modern Art History at the University of Amsterdam. From 2021 to 2026, she is Principal Investigator of The Female Impact, a research project funded by the Dutch Research Council (NWO).
Thijs Weststeijn is Professor of Art History before 1800 at Utrecht University, where he chairs the research project The Dutch Global Age (2023–2028).
c o n t e n t s
• Introduction
• Dynamic Partnership: The Work of Married Women in Dutch Seventeenth-Century Artists’ Households — Marleen Puyenbroek
• The Sculptor and the Sculptress: Gendering Sculpture Production in the Early Modern Low Countries —Elizabeth Rice Mattison
• The Images and the Interventions of Adriana Perez in the Rockox Collection — Kendra Grimmett
• Household Heroines: Maria van Nesse’s Memory-Book and the Interplay between the Art Market and Household Consumption — Judith Noorman
• Weaving a Business: Clara de Hont’s (1664–1751) Tapestry Workshop in Amsterdam — Rudy Jos Beerens
• Situational Awareness and Practices of Exchange in the Art of Johanna Helena Herolt and Alida Withoos — Catherine Powell-Warren
• Cultivating a Female Presence in the Early Eighteenth-Century Learned Community: The Printed Portraits of Maria de Wilde (1682–1729) — Lieke van Deinsen
• Unmarried, Married, Widowed, and Dead: Female Patrons of Architecture in Amsterdam (1680–1800) —Pieter Vlaardingerbroek
• Caretaker of a Collection: The Case of Jo van Bilderbeek-Lamaison — Bert-Jaap Koops
• We Could Hardly Refuse Them: Alida Pott and the Women of De Ploeg, 1918–1931 — Anneke de Vries
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