Enfilade

In Memoriam | Jonathan Brown (1939–2022)

Posted in obituaries by Editor on January 19, 2022

NYU’s Institute of Fine Arts mourns the loss of Jonathan Brown, who passed away at his home in Princeton, New Jersey on January 17, 2022, at the age of 82. Jonathan first joined the Institute in 1973 as its Director, a position he held for five years. He remained at the Institute as the Carroll and Milton Petrie Professor of Fine Arts until his retirement in 2017. A distinguished colleague and world-renowned scholar of Spanish and Viceregal Mexican art, his contributions to the field will live on for generations to come through his students and his noteworthy publications. Edward Sullivan, Robert Lubar-Messeri, and Richard Kagan have written a remembrance available here. A celebration of Jonathan’s life and work is planned for later in the spring.

Exhibition | Julie Green: The Last Supper

Posted in exhibitions, obituaries, today in light of the 18th century by Editor on November 8, 2021

Installation view of Julie Green’s Last Supper exhibition, Bellevue Arts Museum.

◊    ◊    ◊    ◊    ◊

As noted by many news outlets—including The Art Newspaper, The Washington Post, the Smithsonian Magazine, The New York Times, and NPR (with an editorial by Scott Simon)—the artist Julie Green (1961–2021) died on October 12 at age 60, after battling ovarian cancer. An exhibition of 800 plates by Green is currently installed in Bellevue, Washington. While the ‘content’ of the project (the catalogue of inmates’ last meals) understandably receives the bulk of the attention, I imagine it’s impossible for most dixhuitièmistes not to see the long tradition of blue-and-white ware adaptation; and once a viewer goes there, the plates provide an indicting reminder of the historical origins of the inequities of the American criminal justice system, inequities in many cases derived from seventeenth- and eighteenth-century institutions. CH

Julie Green: The Last Supper
Bellevue Arts Museum, 4 September 2020 — 23 January 2022

800 Plates Illustrating Final Meals of US Death Row Inmates

Growing up, I admired quilts and ceramics in our Iowa home, as well as the larger-than-life historical figures and 20’ American flag made with ears of colored corn in a neighbor’s yard. Appreciation for homemade and handmade led me to paint blue food. I once shared my family’s support of Nixon and capital punishment. Now I don’t.

Oklahoma has higher per capita executions than Texas. I taught there, and that is how I came to read final meal requests in the morning paper. The Last Supper illustrates the meal requests of U.S. death row inmates. Cobalt blue mineral paint is applied to second-hand ceramic plates, then kiln-fired to 1,400 degrees by technical advisors Toni Acock and Sandy Houtman.

Of the 1,521 US executions to date, 570 occurred in Texas, the only state that doesn’t allow a final meal selection. In Texas, inmates are served the standard prison meal of the day. In states that allow a choice, traditions and restrictions vary. There is no alcohol allowed anywhere. Cigarettes are officially banned but sometimes granted. Most selections are modest. This is not surprising, as many are limited to what is in the prison kitchen. Others provide meals from local venues. Pizza Hut, Wendy’s, and Long John Silver’s are frequently selected in Oklahoma, where their fifteen-dollar allowance is down from twenty in the late 1990s. California allows restaurant take-out up to fifty dollars. Historical menus from Folsom prison, shared by April Moore, point to the 733 inmates on death row today in California. State and date of execution are listed for each plate.

While looking for a permanent home for the project, unless capital punishment ends soon, I will continue until there are 1,000 plates. For me, a final meal request humanizes death row. Menus provide clues on region, race, and economic background. A family history becomes apparent when Indiana Department of Corrections adds, “He told us he never had a birthday cake so we ordered a birthday cake for him.”

Art can be a meditation. Why do we have this tradition of final meals, I wondered, after seeing a 1999 request for six tacos, six glazed donuts, and a cherry Coke. Twenty-one years later, I still wonder.

Julie Green
8 August 2020

 

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)

E D I T O R I A L

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

A R T I C L E S

• 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.

R E V I E W S

• 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.

O B I T U A R Y

• 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.

 

The Burlington Magazine, March 2021

Posted in books, catalogues, exhibitions, journal articles, obituaries, reviews by Editor on April 24, 2021

The eighteenth century in The Burlington (I’m catching up, gradually!) . . . CH

The Burlington Magazine 163 (March 2021)

Hubert Robert, Arch of Septimius Severus, 1756; pen with grey and beige washes, 73 × 52 cm (Musée de Valence).

A R T I C L E S

•  Pedro Luengo, “Spatial Rhetoric: Echoes of Madrid’s Alcázar in Palaces Overseas,” pp. 236–43.
Several key features of the Alcazar in Madrid—including the twin-courtyard plan, double staircase, and layout of the royal chapel—were replicated in royal palaces in Spain and elsewhere and in the viceregal palaces in Spain’s American empire as part of a desire to project a unified imperial image.

•  Yuriko Jackall and Kari Rayner, “Becoming Hubert Robert: Some New Suggestions,” pp. 244–53.
The thin documentation of Hubert Robert’s early years makes it difficult to understand how the largely untrained student who went to Rome in 1754 emerged as a leading talent in Paris in the mid 1760s. Close examination of his art suggests that his rapid development was due to a rigorous course of study of perspective and life drawing, probably in response to criticisms of his abilities by the secretary of the Académie Royale, Charles-Nicolas Cochin.

R E V I E W S

• Michael Hall, Review of Matthew Reeve, Gothic Architecture and Sexuality in the Circle of Horace Walpole (Pennsylvania State University Press, 2020), pp. 264–69.

• Antonio Mazzotta, Review of the exhibition Tiepolo: Venezia, Milano, l’Europa (Milan: Gallerie d’Italia, 2020–21), pp. 273–75.

• Christoph Stiegemann, Review of the exhibition Passion, Leidenschaft: Die Kunst der großen Gefühle (Münster: LWL-Museum für Kunst und Kultur, 2020–21), pp. 275–78.

• Stephen Leach, Review of Matthew Craske, Joseph Wright of Derby: Painter of Darkness (Paul Mellon Centre for Studies in British Art, 2020), pp. 297–98.

• Philippe Malgouyres, Review of Suzanne Higgott, ‘The Most Fortunate Man of his Day’: Sir Richard Wallace: Connoisseur, Collector, and Philanthropist (Wallace Collection, 2018), pp. 298–99.

• Elena Almirall Arnal, Review of Carolina Naya Franco, El joyero de la Virgen del Pilar: Historia de una colección de alhajas europeas y americanas (Institución Fernando El Católico, 2019), pp. 302–03.

• Gauvin Alexander Bailey, Review of Laura Windisch, Kunst, Macht, Image: Anna Maria Luisa de’ Medici (1667–1743) im Spiegel ihrer Bildnisse und Herrschaftsräume (Böhlau Verlag, 2019), p. 303.

O B I T U A R I E S

• Peter Cherry, Obituary of Carmen Garrido (1947–2020), pp. 305–06.
Director of the Gabinete de Documentación Técnica at the Prado for thirty years, Carmen Garrido made major contributions to the technical study of Spanish painting, in particular with her publications on Diego Velázquez.

• Ger Luijten, Obituary of David Scrase (1949–2020), pp. 306–08.
In a career spent almost entirely at the Fitzwilliam Museum, Cambridge, David Scrase was responsible for numerous significant acquisitions and exhibitions. His magnum opus his his catalogue for the museum’s Italian drawings, published in 2011.

 

In Memoriam | Wilhelmina Cole Holladay (1922–2021)

Posted in museums, obituaries, on site by Editor on March 10, 2021

Press release (8 March 2021) from the NMWA:

Wilhelmina Cole Holladay, who founded the National Museum of Women in the Arts (NMWA), the first and only museum solely dedicated to championing women through the arts, died on Saturday, 6 March 2021, at the age of 98 in Washington, D.C. Against tremendous odds and with dedication, drive, and a singular vision, Holladay created a museum to help alleviate the underrepresentation of women artists in museums and galleries worldwide.

“For nearly 40 years, Wilhelmina Holladay has been the guiding light of our museum,” said Director Susan Fisher Sterling. “Mrs. Holladay knew the power of art and the importance of women in art and in the world. Her foresight in recognizing women artists of the past and championing women artists of the present by creating a new museum was visionary—even revolutionary—for the time. Her actions signaled a major shift in our thinking about art and society, and it is her genius and purpose we carry forward with us today.”

Wilhelmina Cole Holladay, A Museum of Their Own: National Museum of Women in the Arts (New York: Abbeville Press, 2008).

“Wilhelmina, ‘Billie’ as she was known to her friends, believed deeply in philanthropy and volunteerism,” said Board Vice-Chair and daughter-in-law Winton Smoot Holladay. “Her leadership and generosity established the museum, and she worked tirelessly to create an important institution where women artists could fully participate in and shape the national and international cultural conversation. Her unwavering sense of purpose and her love of art enriched the lives of all who were privileged to work alongside her.”

Holladay’s interest in art by women began in the 1970s, when she and her husband Wallace traveled widely to visit museums and galleries. They were particularly drawn to a painting they saw in Vienna, a 1594 still life by Flemish artist Clara Peeters. They saw additional paintings by Peeters at the Prado in Madrid. When Holladay attempted to learn more about the artist, she could find no information on Peeters—or any other female artist—in the standard art history textbook, H. W. Janson’s History of Art. Astonished by this discovery, the Holladays began to search for work by other women artists.

By the 1980s, the Holladay collection had grown to approximately 500 works by 150 artists, from the Renaissance to contemporary times. In addition to artwork, the Holladays kept an archive of catalogues, books, photographs, and biographical information on women artists. Nancy Hanks, then head of the National Endowment for the Arts, encouraged the Holladays to consider establishing a museum, and Holladay focused her considerable organizational and fundraising skills in this direction.

NMWA was incorporated in 1981, and for the next six years, Holladay opened her residence to the public for tours, traveled extensively to garner support for her idea, raised more than $20 million from public and private sources, purchased and renovated a historic building to house the collection, and donated her personal collection and library to the museum. On 7 April 1987, Barbara Bush, wife of the then-Vice President, cut the ribbon to open the museum in a 1907 Renaissance revival landmark building located two blocks from the White House.

NMWA’s collection has grown to include more than 5,500 works by approximately 1,000 artists, such as Louise Bourgeois, Mary Cassatt, Judy Chicago, Frida Kahlo, Georgia O’Keeffe, Faith Ringgold, and Élizabeth Louise Vigée-Lebrun. Special exhibitions have included premier solo showings of work by Camille Claudel (19th-century French), Remedios Varo (20th-century Mexican), Lavinia Fontana (16th-century Italian) and Carrie Mae Weems (contemporary American). The diversity of women’s artistic creativity has been showcased in exhibitions featuring treasures from the Hermitage, pottery by American Indians, theatrical creations by Julie Taymor, representations of the Virgin Mary in Western art, abstract art by Black women artists, and work by emerging artists in the museum’s signature Women to Watch series. These exhibitions have broadened the art historical canon to be more open and inclusive.

The museum is also a leader in online content and arts education, serving the local community through outreach to D.C. public and private charter schools as well as developing an arts education model for schools nationwide. NMWA’s Women, Arts, and Social Change public program initiative offers a platform for speakers and attendees to advance ideas and solutions to society’s most pressing issues—especially those affecting women and girls—and inspires action in the arts and beyond. NMWA also publishes a triennial magazine, serves as a center for the performing and literary arts, and maintains one of the foremost repositories of documents and materials on women artists.

In over 35 years, the museum’s budget has grown to $11 million, and the full-time staff numbers 50. NMWA members and donors—nearly 13,000 strong—come from all over the United States and 21 other countries. Its network of national and international committees has 25 outreach groups with more than 3,000 dedicated members throughout the United States and around the world, including Chile, France, Peru, and the United Kingdom. The committees host regional programs and serve as ambassadors for the museum.

Holladay was born on 10 October 1922, in Elmira, N.Y. She developed an early appreciation of art from her maternal grandmother. She earned a BA degree from Elmira College in 1944, studied art history at Cornell University, and completed postgraduate work in art history at the University of Paris in 1953–54. During World War II, Holladay worked in Washington, D.C., where she met her husband, an officer in the United States Navy. She worked as social secretary to Madame Chiang Kai-Shek from 1945 to 1948, but after the birth of her son Wallace Jr., she dedicated herself to volunteer projects.

In addition to serving as the museum’s chair of the board, Holladay was active in many other ventures, serving on the boards of the National Women’s Economic Alliance, the Adams National Bank, the Corcoran Gallery of Art, the World Service Council of the YWCA, the American Academy in Rome, the United States Capitol Historical Society, the National Gallery of Art’s Collector’s Committee, and the International Women’s Forum. In recognition of her service, Holladay received the National Medal of Arts as well as diplomatic orders from France and Norway. She also was regularly listed as one of the most powerful women in Washington, D.C. and received a lifetime achievement award from the District of Columbia. Among Holladay’s other awards for her service to women include induction into the National Women’s Hall of Fame, a lifetime achievement award from the Women’s Caucus for Art, the Women Who Make a Difference Award from the International Women’s Forum, and the Distinguished Achievement Award from the National League of American Pen Women. She received honorary doctorate degrees from four colleges.

Holladay was predeceased by a son, Scott Cole Holladay and her husband, Wallace F. Holladay. Holladay is survived by a son and daughter-in-law, Wallace ‘Hap’ Holladay Jr. and Winton Holladay; four grandchildren, Brook Holladay Peters (Brian), Fitz Holladay, Jessica Holladay Sterchi (Louis), and Addison Holladay (Eliza); and nine great-grandchildren.

A celebration of life will be announced at a future date. In lieu of flowers, the family requests contributions may be made to the National Museum of Women in the Arts.

National Museum of Women in the Arts, at 1250 New York Avenue, NW in Washington, D.C. Built in 1908 as a Masonic Temple—to designs by Wood, Donn, and Deming—the Renaissance revival style building has been home to the NMWA for 34 years. Photo: Wikimedia Commons, 2008.

The Burlington Magazine, July 2018

Posted in books, exhibitions, journal articles, obituaries, reviews by Editor on July 21, 2018

The eighteenth century in The Burlington:

The Burlington Magazine 160 (July 2018)

E D I T O R I A L

• Michael Hall, “At the Royal Academy of Arts,” p. 535. This is the Royal Academy’s year. The venerable London institution has celebrated its 250th anniversary by unveiling a redevelopment that has added seventy per cent more public space, staging a Summer Exhibition that has garnered five-star reviews, mounting an exhibition, The Great Spectacle, which traces the history of the annual exhibition since its inception in 1768, and publishing a monumental multi-author history of itself and its collections. . . .

A R T I C L E S

• Dorothea Diemer and Linda Hinners, “‘Gerhardt Meyer Made Me in Stockholm’: A Bronze ‘Bathing Woman’ after Giambologna,” pp. 545–53. Spurred by rivalry with French founders working for the Swedish Crown, in 1697 Gerhardt Meyer the Elder cast a bronze figure of a nude woman after a marble by Giambologna that had been in Sweden since 1632. It is inscribed ‘Me fecit Gerhardt Meyer Holmiae’.

R E V I E W S

• Laurel O. Peterson, Review of the exhibition Visitors to Versailles, 1682–1789 (Château de Versailles, 2017–18; The Metropolitan Museum of Art, 2018), pp. 582–84.
• Louis Cellauro and Gilbert Richaud, Review of the exhibition Jacques-François Blondel: An Enlightenment Architect in Metz (The Arsenal, Metz, 2018), pp. 584–86.
• Paul Taylor, Review of Susanna Berger, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton University Press, 2017), pp. 606–07.
• Gauvin Alexander Bailey, Review of the exhibition catalogue, Ilona Katzew, ed., Painted in Mexico / Pintado en México, 1700–1790: Pinxit Mexici (Prestel, 2017), pp. 607–08.
• Sophie Littlewood, Review of Donald J. La Rocca, How to Read European Armor (Metropolitan Museum of Art and Yale University Press, 2017), p. 613.

O B I T U A R I E S

• Andrew Wilton, Obituary of Malcolm Cormack (1935–2018), p. 617. When the Yale Center for British Art, New Haven, opened in 1977, Malcolm Cormack was its first Curator of Paintings. At Yale, and subsequently at the Virginia Museum of Fine Arts, he staged influential exhibitions on subjects ranging from William Blake to the Camden Town Group.

 

In Memoriam | Linda Nochlin (1931–2017)

Posted in obituaries by Editor on October 30, 2017

From ARTnews:

Andrew Russeth, “Linda Nochlin, Trailblazing Feminist Art Historian, Dies at 86,” ARTnews (29 October 2017).

Linda Nochlin, the perspicacious art historian who brought feminist thought to bear on the study, teaching, and exhibition of art, reshaping her field, has died, according to people close to her family. She was 86.

In 1971, Nochlin earned widespread attention for her landmark essay “Why Have There Been No Great Women Artists?,” which approached that question with incisive and nuanced analysis, demonstrating how, for centuries, institutional and societal structures had made it “impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so-called talent, or genius.” But Nochlin also interrogated how “greatness” itself had long been formulated and evaluated. “In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones,” she wrote in the essay, which was published in ARTnews.

That article quickly became a cornerstone for the developing field of feminist art history. It would have been enough to secure her place as one of art history’s most important writers, but over the course of her six-decade career, she also made formidable contributions to the study of Realism and Gustav Courbet, Impressionism and Post-Impressionism, and numerous contemporary artists. . . .

The full obituary is available here»

Save

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.

Save

Save

Save

Save

Save

Save

Save

ASECS 2017, Minneapolis: Memorial Session for Mary Sheriff

Posted in conferences (to attend), obituaries by Editor on February 13, 2017

In addition to this year’s regular ASECS offerings, the schedule will include a memorial gathering dedicated to Mary Sheriff (1950–2016).

Please join us Thursday, March 30, from 6:00 to 7:00pm as we remember our colleague, dear friend, and mentor. There will be a cash bar, a short program, and an opportunity for people to share memories and celebrate Mary’s vibrant life.

The room is Lakeshore A, on the first floor of the Hyatt Regency Minneapolis. Please email Joanna Gohmann at jgohmann@thewalters.org or Hyejin Lee at hyejinlee.18e@gmail.com with any questions.

CAA 2017, New York: Memorial Session for Mary Sheriff

Posted in conferences (to attend), obituaries by Editor on January 26, 2017

In addition to this year’s regular CAA offerings, the schedule includes a memorial session for Mary Sheriff (other Enfilade postings for CAA 2017 have been updated with the addition). The session is open to the public, and no conference registration is required to attend. Tara Zanardi’s session ‘Superpowers in the Global Eighteenth Century: Empire, Colonialism, and Cultural Contact’ (Friday, 17 February 2017, 10:30–12:00) will also be dedicated to Mary.

Beyond CAA, other events are planned, including two symposia in conjunction with the exhibition Becoming a Woman in the Age of Enlightenment, curated by Mary Sheriff and Melissa Hyde. In addition, there’s a gathering in Paris at INHA scheduled for Saturday, February 25 at 3:30 in the Salle Mariette.

Key Conversation: Mary Sheriff (1950–2016): A Memorial Session
Saturday, 18 February 2017, 12:15–1:15, Madison Suite, 2nd Floor

Chair: Francesca Fiorani (University of Virginia)

Join this session to remember Mary Sheriff. Come together, share memories, and celebrate her achievements.

◊  ◊  ◊  ◊  ◊

Note (added 26 January) — The original posting listed an incorrect date for the Paris event; it’s been corrected.

%d bloggers like this: