Enfilade

The Art Bulletin, December 2022

Posted in books, journal articles, reviews by Editor on January 29, 2023

The eighteenth century in the latest issue of The Art Bulletin 104 (December 2022), along with the methodological ‘perspective’ conversation from Fricke and Flood:

A R T I C L E S

Journal cover• Beate Fricke and Finbarr Barry Flood, “Premodern Globalism in Art History: A Conversation,” pp. 6–19.

A conversation took place in 2021 between two art historians whose research focuses on different regions of the premodern world and who have recently collaborated on a project dealing with early histories of globalism. The discussion considers the potential archival value of ‘flotsam’—that is, extant artifacts and images lacking extensive textual metadata—for (re)constructing transcultural and transregional histories of circulation and reception. It addresses divergences in the nature of the available archival materials and the ethical and methodological challenges this poses. The discussants consider the need to move beyond earlier, largely celebratory narratives of the global to engage the ways in which transregional and transcultural networks intersected with more rooted or regional traditions of art making and material culture.

• Paris A. Spies-Gans, “Why Do We Think There Have Been No Great Women Artists? Revisiting Linda Nochlin and the Archive,” pp. 70–94.

In 1971 Linda Nochlin published her quickly canonical “Why Have There Been No Great Women Artists?” (ARTnews 69, no. 9). She offered a powerful narrative, claiming that Western institutional structures and a lack of access to vital educational opportunities had historically prevented women from becoming ‘great’ artists—indeed from even having the potential to achieve greatness. I suggest new visual and textual lenses through which we can update Nochlin’s narrative and reconsider women artists on their own societies’ terms, arguing that by returning to the archive, we can identify greatness and professionalism where they have eluded us before.

R E V I E W S

• Amy Knight Powell, Review of Aaron Hyman, Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Publications, 2021), pp. 120–23.

• Amanda Lahikainen, Review of Joseph Monteyne, Media Critique in the Age of Gillray: Scratches, Scraps, and Spectres (University of Toronto Press, 2022), pp. 123–26.

New Book | Buddhist Art of Tibet: In Milarepa’s Footsteps

Posted in books, reviews by Editor on January 10, 2023

With postings, I typically aim for editorial invisibility, allowing the marketing materials of an exhibition or book to do the talking. In this case, however, I would also point readers to Erin Thompson’s review “Sex Tourism with Statues: Buddhist Art of Tibet: In Milarepa’s Footsteps Is a Cringe-worthy Display of ‘Spiritual Colonialism’,” Hyperallergic (3 January 2023). As an associate professor of art crime at John Jay College of Criminal Justice (CUNY), Thompson holds a JD from Columbia Law School and a PhD in art history from Columbia University (both 2010). Lots of interesting questions about lots of things; I can imagine using the review in class next time I teach my introduction to Chinese art. CH

From Rizzoli:

Etienne Bock, Jean-Marc Falcombello, and Magali Jenny, Buddhist Art of Tibet: In Milarepa’s Footsteps, Symbolism and Spirituality (Paris: Flammarion, 2022), 288 pages, ISBN: 978-2080280947, $50.

Book coverFascinated by Buddhist art and Asian spirituality, Alain Bordier has spent more than forty years building a unique collection of religious objects from the Himalayas (Tibet, Nepal, and Bhutan). On display today at the Tibet Museum in the heart of the medieval city of Gruyères, Switzerland, some six hundred works offer visitors the rare opportunity to discover an endangered world heritage. This volume presents a general historic and artistic framework of Tibetan art through narratives, anecdotes, and commentary from Bordier on the different subjects and the collection itself. Beyond the artistic aspect, this work demonstrates the symbolism and spirituality that emerge from each object and offers an interpretation of the themes from a Buddhist viewpoint. The highlight of the book is the presentation of an unpublished manuscript retracing the life of Milarepa, the great eleventh-century Tibetan yogi, whose analysis provides an excellent introduction to the great Buddhist principles.

Etienne Bock is a specialist in Himalayan art and literature. Jean-Marc Falcombello is a cultural journalist and a disciple of Lama Teunsang, one of the oldest living Tibetan masters, for four decades. Magali Jenny is an ethnologist.

Note: The image used for the cover of the book is a Tibetan depiction of Milarepa, from the 18th century, pigment on cloth, 24 × 16 inches (Gruyères: Tibet Museum: Fondation Alain Bordier).

Print Quarterly, December 2022

Posted in books, catalogues, journal articles, reviews by Editor on December 4, 2022

The long eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 39.4 (December 2022)

A R T I C L E S

• Antony Griffiths and Giorgio Marini, “Some Italian Importers of British Prints in the 1780s,” pp. 412–22.

“There is little evidence of interest or awareness of British printmaking in Italy before the last quarter of the eighteenth century. In those years, however, things began to change with remarkable speed. The purpose of this article is to draw attention to five importers of British prints—Molini in Florence, Micali in Livorno (Leghorn), Montagnani in Rome, and Viero and Wagner, both in Venice—all of whom produced catalogues of their imported stock within the five years between 1785 and 1789. When considered as a group, these catalogues give evidence of how quickly dealers were able to import newly published stock and how varied tastes were in these years” (412).

N O T E S  A N D  R E V I E W S

• Giorgio Marini, Note of the exhibition catalogue Delfín Rodríguez Ruiz and Helena Pérez Gallardo, eds., Giovanni Battista Piranesi en la Biblioteca Nacional de España (Biblioteca Nacional de España, Madrid, 2019), pp. 444–46.

• Laurence Lhinares, Note on the Print Collection of Horace His de La Salle (1795–1878), occasioned by the exhibition Officier et Gentleman: La Collection Horace His de La Salle (Louvre, 2019–20) and the recent purchase by the Fondation Custodia of a copy of the 1856 sale catalogue of the collector’s prints, pp. 446–50.

• Paul Coldwell, Note on Elizabeth Jacklin, The Art of Print: Three Hundred Years of Printmaking (Tate, 2021), pp. 450–51.

• Rachel Sloan, Note on Kinga Bódi and Kata Bodor, eds., The Paper Side of Art: Eight Centuries of Drawings and Prints in the Collections of the Museum of Fine Arts – Hungarian National Gallery, Budapest (2021), pp. 451–52.

• Anne Leonard, Review of the exhibition catalogue, Rena Hoisington, Aquatint: From Its Origins to Goya (National Gallery of Art / Princeton University Press, 2021), pp. 466–71. The catalogue won the 2022 IFPDA book award and discusses many notable innovators in the aquatint medium, including Giovanni David and Maria Catharina Prestel.

The Burlington Magazine, November 2022

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on December 3, 2022

The eighteenth century in the November issue of The Burlington . . .

The Burlington Magazine 164 (November 2022) — Sculpture

Massimiliano Soldani Benzi, Lamentation over the Dead Christ, 1690–92(?), gilded bronze, 57 × 40 cm (Córdoba Cathedral).

E D I T O R I A L

• The Parthenon Sculptures, p. 1063.

A R T I C L E S

• Fernando Loffredo, “Soldani’s Lamentation in Córdoba,” pp. 1118–22.

R E V I E W S

• Colin Bailey, Review of the exhibition catalogue, Renoir: Rococo Revival (Städel Museum, Frankfurt am Main, 2022), pp. 1150–53.

• Joseph Connors, Review of Livio Pestilli, Bernini and His World: Sculpture and Sculptors in Early Modern Rome (Lund Humphries, 2022), pp. 1160–62. [Pestilli “mines the correspondence of the directors of the Académie de France and sorts through student drawings in the Accademia de San Luca to find that well into the eighteenth century Bernini was copied more than any other artist” (1162).]

• Jamie Mulherron, Review of Alexandre Maral and Valérie Carpentier-Vanhaberbeke, Antoine Coysevox (1640–1720): Le sculpteur du Grand Siècle (Arthena, 2020), pp. 1165–66.

• Hugo Chapman, Review of Carel van Tuyll van Serooskerken, The Italian Drawings of the Seventeenth and Eighteenth Centuries in the Teyler Museum (Primavera Pers, 2021), pp. 1166–67.

• Christopher Martin Vogtherr, Review of Sarah Salomon, Die Kunst der Außenseiter: Ausstellungen und Künstlerkarrieren im absolutistischen Paris jenseits der Akademie (Wallstein Verlag, 2021), pp. 1167–68. [Salomon’s book focuses on four institutions: the Académie de Saint-Luc, the Colisée, the Salon de la Correspondence, and the Exposition de la Jeunesse.]

• Stephen Lloyd, Review of Magnus Olausson, Miniature Painting in the Nationalmuseum: A World-Class Collection (Nationalmuseum Stockholm, 2021), pp. 1168–70.

O B I T U A R I E S

• Michael Hall, Obituary for Mark Girouard (1931–2022), pp. 1171–72.

Journal18, Fall 2022 — Silver

Posted in journal articles, reviews, today in light of the 18th century by Editor on November 30, 2022

In the latest issue of J18:

Journal18, Issue #14 (Fall 2022) — Silver
Issue edited by Agnieszka Anna Ficek and Tara Zanardi

I N T R O D U C T I O N

Agnieszka Anna Ficek and Tara Zanardi

In his 1656 treatise El Paraíso en el Nuevo Mundo, Antonio de León Pinelo contends that the amount of silver extracted from Potosí’s Cerro Rico was enough to build a bridge of silver from the top of the mountain to the doors of Madrid’s Royal Palace: 2,070 leagues long, 14 rods wide, and 4 fingers thick.[1] The vivid imagery of León Pinelo’s account encapsulates the magnitude of silver’s potential as the material foundation for a fantastical building project that could physically scale the earth much like the Spanish Empire did politically, militarily, and financially. Silver’s beauty, mutability, and strength coveted by Spanish colonists led to the production of spectacular objects, such as the ornamental plaque from a Jesuit Mission in the Andean highlands that serves as this issue’s cover image. At once luxurious and symbolic, the plaque’s decoration features tulips and other plants cultivated in Europe, interwoven in a repouséd floral ground with indigenous passion flowers (mburucuyà), nibbled by native birds, to create an image of a harmonious colonial society. Both the imaginary bridge and the ornamental plaque belie the violence the Spanish Crown and the Church exerted in subjugating native populations and instituting a system of forced labor to extract this precious metal.

Within and beyond the Spanish Empire, silver financed wars, upheld dynasties, and cemented political alliances. Forged into currency, silver funded slavery and the institution’s production of goods such as sugar and cacao. Silver was also valued around the globe for its pliability and sheen. From Beijing to Versailles, Mexico City to Lisbon, it furnished grand homes, glittering on dinner tables and dressing tables alike. Skilled artists manipulated silver into opulent objects, capitalizing on its luster to fabricate sinuous forms in small-scale decorative artworks as well as ambitious commissions that communicated wealth and political might.

This issue probes silver’s capacity for metamorphosis—from raw material into objects and currency. Such transformative characteristics made it a valuable medium for artists, a tool for global expansion, and a form of income for rebuilding state treasuries. . . .

Keep reading»

A R T I C L E S

• Dani Ezor — ‘White when Polished’: Race, Gender, and the Materiality of Silver at the Toilette
• Christina K. Lindeman — Silver Thread Textiles: Industry, Dynasty, and Political Power in Eighteenth-Century Prussia
• Susan Eberhard — The Asian Silver Chocolatière: The Transpacific World in a Diplomatic Gift

E X P L O R A T I O N S

• James Middleton — An Eighteenth-Century Portrait Miniature on Silver: An Artifact from the Silver Age of Mexico
• José Andrés De Leo Martínez — La distinción del cáliz de Puebla de los Ángeles en el s. XVIII, entre dos Mundos
• Christina Clarke — Reanimating the Goldsmith: An Artisanal Reading of the Archive

Cover image: Ornamental Plaque (mariola or maya), one of a pair, 1725–50, Moxos or Chiquitos missions, Alto Peru (present-day Bolivia), silver, 42 × 31 × 3 cm (Museum of Fine Arts Boston, 1992.346).

◊   ◊   ◊   ◊   ◊

R E C E N T  N O T E S  &  Q U E R I E S

• Jessica L. Fripp — Review of Raphaël Barontini’s show Blue Lewoz (Paris: Mariane Ibrahim Gallery, summer 2022), published in J18 October 2022. Link»
The title Blue Lewoz brings together léwoz, the music and dance created by the enslaved people on Guadaloupe, and indigo blue, a dye that was a staple of the transatlantic slave trade. Barontini writes on his Instagram that Creole Dancer was inspired by a 1950 collage by Matisse of the same name, and a tribute to the “Caribbean women and the place of the dance in the Guadeloupean léwoz tradition.” From this twentieth-century inspired work, viewers quickly moved into an alternative history of fashion and luxury of early modern Europe: collages that incorporate Jean-Marc Nattier’s eighteenth-century dresses, Bronzino’s elaborate fabrics, and Elizabethan ruffs. While Barontini’s appropriation and sources stretch wider than the long eighteenth century, many of the fashions in those portraits were the product of, as Alicia Caticha notes, “Atlantic slave trade and a host of other exploitative global networks.” And, as scholars such as Anne Lafont and Mechtild Fend have shown, portraits were often used to construct and highlight whiteness.[1] Barontini’s work reinvents those portraits and, through collage, tapestries, and textiles, celebrates resistance and Caribbean festivals. . .

• Michelle Sylliboy — “Artist’s Notes: Nm’ultes is an Active Dialogue: I Reclaiming Komqwejwi’kasikl, II An Autobiographical Creative Inquiry, and III forthcoming” published in J18 in three parts, June 2022, October 2022. Link»
Published in three installments, this intervention by L’nu interdisciplinary artist, poet, and scholar Michelle Sylliboy offers an Indigenous perspective on the colonial archive. Sylliboy responds to the dehumanizing accounts of her ancestors in Nouvelle Relation de la Gaspésie (Paris, 1691) and reclaims the komqwejwi’kasikl language from its author, French missionary Chrestien Le Clercq, who culturally appropriated its writing system. Using autobiographical creative inquiry and Nm’ultes theory, Sylliboy addresses the ongoing impact of settler colonialism on her people, the L’nuk. As a survivor of intergenerational trauma, she tells the intersecting stories of healing and reconnecting with the worldview of her ancestors, who have been caretakers of a land that stretches from the Gaspé peninsula to Newfoundland since immemorial times.

The Burlington Magazine, September 2022

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on October 30, 2022

The eighteenth century in the September issue of The Burlington . . .

The Burlington Magazine 164 (September 2022)

E D I T O R I A L

• “A Practical Guide to Restitution,” p. 835.

A R T I C L E S

• Rahul Kulka, “Counter-Reformation Ambers: Friedrich Schmidt’s Workshop in Kretinga, Lithuania,” pp. 839–53.
On the basis of a unique signed and dated domestic altarpiece it has been possible to attribute a significant body of work to the amber workshop of Friedrich Schmiddt, who worked in Kretinga in the seventeenth century. They include a reliquary of St Casimir given in 1678 with other works in amber to Grand Duke Cosimo III of Tuscany by the Bishop-Elect of Vilnius, Mikolajus Steponas Pacas.

• Aurora Laurenti, “Nicolas Pineau as a Designer of Ornament Prints,” pp. 864–73.
Although designs by the woodcarver Nicolas Pineau in publication by Jean Mariette and Jacques-François Blondel played a significant role in the creation and dissemination of the Rococo style in the first half of the eighteenth century, they have never been studied in detail and their sequence and chronology have remained uncertain.

R E V I E W S

• Alison Wright, Review of the exhibition Gold (British Library, 2022), pp. 910–12.

• Philippe Bordes, Review of the exhibition Le Voyage en Italie de Louis Gauffier (Montpellier, 2022) and the catalogue raisonné by Anna Ottani Cavina and Emilia Calbi, Louis Gauffier: Un pittore francese in Italia (Silvana Editoriale, 2022), pp. 915–18.

• Ariane Varela Braga, Review of Dario Gamboni, Jessica Richardson, and Gerhard Wolf, The Aesthetics of Marble: From Late Antiquity to the Present (Hirmer, 2021), p. 934.

• Celia Curnow, Review of J.V.G. Mallet and Elisa Sani, eds., Maiolica in Italy and Beyond: Papers of a Symposium held at Oxford in Celebration of Timothy Wilson’s Catalogue of Maiolica in the Ashmolean Museum (Ashmolean Museum, 2021), pp. 937–38.

• François Marandet, Review of Delphine Bastet, Les Mays de Notre-Dame de Paris, 1630–1707 (Arthena, 2021), pp. 938–40.

• John Bold, Review of Christina Strunck, Britain and the Continent 1660–1727: Political Crisis and Conflict Resolution in Mural Paintings at Windsor, Chelsea, Chatsworth, Hampton Court and Greenwich (De Gruyter, 2021), pp. 940–41.

• Mark Stocker, Review of Matthew Potter, Representing the Past in the Art of the Long Nineteenth Century: Historicism, Postmodernism, and Internationalism (Routledge, 2021), pp. 941–42.

• Yuriko Jackall, Review of Alan Hollinghurst and Xavier F. Salomon, Fragonard’s Progress of Love (Frick Collection, 2022), pp. 945–46.

O B I T U A R I E S

• Tim Knox, Obituary for John Harris (1931–2022), pp. 950–52.

The Art Bulletin, September 2022

Posted in books, journal articles, reviews by Editor on September 22, 2022

The long eighteenth century in the latest issue of The Art Bulletin 104 (September 2022) . . .

A R T I C L E S

• Tomasz Grusiecki, “Doublethink: Polish Carpets in Transcultural Contexts,” pp. 29–54.
A group of carpets termed tapis polonais (French for “Polish carpets”) were mistakenly given this name in the nineteenth century, despite their Persian provenience. Today, these artifacts are often described as “so-called Polish carpets,” emphasizing the historical confusion which led to coining the phrase. Evidence from both early modern and modern archival and literary sources suggests, however, that to fully understand the significance of tapis polonais we must embrace their transcultural contexts. Embedded in ongoing cycles of recontextualization and reappropriation, tapis polonais effectively challenge outdated assumptions that cultural forms can be simply assigned to a single cultural region and its historical traditions.

Vincennes Manufactory, after Pierre Blondeau, after François Boucher, La Danseuse (Dancer), ca. 1752, soft-paste biscuit porcelain, 22 × 14 × 8 cm (Cleveland Museum of Art).

• Susan M. Wager, Boucher’s Spirit: Authorship, Invention, and the Force of Porcelain,” pp. 55–83.
Deemed “ridiculous dolls” by Johann Joachim Winckelmann, porcelain figurines have long resided on the outskirts of art history. The exceptional case of biscuit porcelain figurines, invented in France in the 1750s, has been folded into an anachronistic story of stylistic change. This essay disentangles the history of porcelain figurines from the history of Neoclassicism. Through a close reading of the abbé Jean-Bernard Le Blanc’s (1707–1781) art criticism and analysis of a 1761 set of reproductive prints, it shows that biscuit figurines designed by the quintessentially rococo painter François Boucher defied assumptions about porcelain’s irreducible materiality, complicating fundamental eighteenth-century ideas about authorship.

R E V I E W S

• Kirsten Pai Buick, Review of Aston Gonzalez, Visualizing Equality: African American Rights and Visual Culture in the Nineteenth Century (University of North Carolina Press, 2020); Paul Kaplan, Contraband Guides: Race, Transatlantic Culture, and the Arts in the Civil War Era (Penn State University Press, 2020); and Teresa Goddu, Selling Antislavery: Abolition and Mass Media in Antebellum America (University of Pennsylvania Press, 2020), pp. 150–57.

• Atreyee Gupta, Review of Niharika Dinkar, Empires of Light: Vision, Visibility and Power in Colonial India (University of Manchester Press, 2019), pp. 158–60.

• Alina Payne, Review of Fabio Barry, Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment (Yale University Press, 2020), pp. 160–63.

 

Print Quarterly, September 2022

Posted in books, journal articles, reviews by Editor on September 15, 2022

The long eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 39.3 (September 2022)

Anonymous artist after Sébastien Leclerc, View of the Hall of Mirrors, ca. 1684, pen and brown ink, brown wash on paper, 13.6 × 9.1 cm (Musée National des Châteaux du Versailles, INV.DESS 1247).

Tomáš Valeš, “Franz Anton Maulbertsch, Jakob Matthias Schmutzer and the Allegory on the Edict of Toleration, 1785

This article discusses new insights into the painter Franz Anton Maulbertsch (1724–1796) and the creation of his print, the Allegory on the Edict of Toleration (1785). It adduces two letters from the engraver Jakob Mattias Schmutzer (1733–1811), his collaborator since the 1750s and later his father-in-law. The article discusses the strategies used for the print’s distribution and also presents an analysis of the print’s preparatory drawing and three proof impressions.

Antoine Gallay, “Sébastien Leclerc’s Preparatory Drawing for the View of the Hall of Mirrors (1684): A Reassessment”

This short article re-examines the status of a drawing acquired by the Musée National des Châteaux de Versailles et de Trianon in 2008, traditionally attributed to Sébastien Leclerc and thought to have been made in preparation for his famous print of the View of the Hall of Mirror (1684). The author also presents a second little known drawing which was most certainly made by Leclerc himself in preparation for the print. Comparison between this drawing and the print offers new insight on the early appearance of the Hall of Mirrors and on Leclerc’s artistic conception and practices.

The issue also includes these relevant notes and reviews:

Battle Engravings for the Emperors of China

Jean Michel Massing, Review of Henriette Lavaulx-Vrécourt, Niklas Leverenz and Alexey Pastukhov, Berlin Battle Engravings: 34 Copperplates for the Emperors of China / Berliner Schlachtenkupfer: 34 Druckplatten der Kaiser von China (Berlin: Staatliche Museen zu Berlin and Deutscher Kunstverlag, 2021), p. 305.

Thomas Gainsborough in London

Anne Lyles, Review of Susan Sloman, Gainsborough in London (London: Modern Art Press, 2021), p. 307.

Utamaro and the Spectacle of Beauty

Adam Haliburton, Review of Julie Nelson Davis, Utamaro and the Spectacle of Beauty (London: Reaktion Books, 2021), p. 308.

The Waterloo Map of Pierre-Jacques Goetghebuer

Inge Misschaert has contributed a brief analysis of the much-copied Map of the Battle of Waterloo (1815) by Belgian architect and engraver Pierre-Jacques Goetghebuer. The article elaborates on the production history of Goetghebuer’s map and its context alongside other adventurous competitors seeking to illustrate the famous battle in its immediate aftermath.

The Reception of Raphael

Carlo Schmid, Review of Andres Stolzenburg and David Klemm, eds., Raffael: Wirkung eines Genies (Petersberg: Hamburger Kunsthalle and Michael Imhof Verlag, 2021), p. 315.

The review focuses on the cult of Raphael which took off at the beginning of the nineteenth century.

The Fruitful Encounter Between Engraving and Photography

Francesca Maria Bonetti, Review of Nicolas Devigne and Virginie Caudron, eds., Contacts – Photographie – Gravure: Jeux et Enjeux (Aire-sur-la-Lys: ateliergaleriéditions and éditions Musée de Gravelines, 2020), p. 318.

Bonetti discusses the different photomechanical processes based on proto-photographic experiments carried out between  1824 and 1827 and known as heliography.

The Burlington Magazine, August 2022

Posted in books, catalogues, exhibitions, journal articles, obituaries, reviews by Editor on September 13, 2022

The August issue of The Burlington is rich for the eighteenth century, including Karin Wolfe’s obituary for Christopher Johns (details for his memorial service, on 17 September, are emerging here).

The Burlington Magazine 164 (August 2022)

A R T I C L E S

• Gauvin Alexander Bailey, “A Borromini-Inspired Church Plan in Eighteenth-Century Lima,” pp. 740–51.
Built in 1758–66, the Church of Los Huérfanos, Lima, is unique in Spanish South America for its oval plan. Its designer is her identified as a master builder, Cristóbal de Vergas, who was inspired by prints of Francesco Borromini’s S. Carlo alle Quattro Fontane, Rome, exemplifying the revival of interest during the Rococo perios in Roman Baroque precedents.

• Adam Bowett, “The Floral Marquetry Floor at Burghley House,” pp. 752–59.
The possibility that five pieces of eighteenth-century furniture at Burghley House, Stamford, incorporate maquetry made for a floor in the house c.1685 is here confirmed by references in inventories. The marquetry can be linked to furniture in the Royal Collection, raising the possibility that the floor was mdade by Gerrit Jensen incorporating marquetry supplied by Jasper Braems.

• François Marandet, “A Modello by Louis Laguerre and the Programme of the Painted Hall at Chatsworth,” pp. 760–67.
With the help of a recently discovered modello, the subject of Louis Laguerre’s monumental painting on the east wall of the Painted Hall, Chatsworth, is here identified as Augustus Ordering the Closing of the Doors of the Temple of Janus. This allows the political allegory of the room’s decoration, completed in 1694, to be fully understood for the first time.

R E V I E W S

• Neil Jeffares, “Pastels in the Pandemic,” pp. 780–87.
The notoriously fragile medium of pastel has not been out of the public eye during the difficult circumstances of the past two years. Exhibition in San Francisco and Munich and a biography of Rosalba Carriera invite comparisons between the major pastellists of the eighteenth century: Joseph Vivien, Maurice-Quentin de La Tour, and Jean-Étienne Liotard, as well as Carriera.

• Reinier Baarsen, Review of Calin Demetrescu, Les ébénistes de la Couronne sous le règne de Louis XIV (La Bibliothèque des Arts, 2021), pp. 818–19.

• Daniel Fulco, Review of Andreas Schumacher, ed., Venezianische Malerei: Staatsgalerie in der Residenz Würzburg (Schnell & Steiner, 2021), pp. 819–21.

• Howard Coutts, Review of Patricia Ferguson, ed., Pots, Prints, and Politics: Ceramics with an Agenda, from the 14th to the 20th Century (British Museum Press, 2021), pp. 821–22.

• Sophie Rhodes, Review of Tessa Murdoch, Europe Divided: Huguenot Refugee Art and Culture (V&A Museum, 2021), pp. 827–28.

• Patrick Bade, Review of Charles Dellheim, Belonging and Betrayal: How Jews Made the Art World Modern (Brandeis University Press, 2021), p. 828.

O B I T U A R I E S

• Karin Wolfe, Obituary for Christopher M.S. Johns (1955–2022), pp. 829–31.
Professor of History of Art at Vanderbilt University, Nashville, since 2003, Christopher M.S. Johns published widely on Italian art of the seventeenth and eighteenth centuries. His determination to demonstrate the falsity of the belief that the settecento was a period of cultural decline had a substantial influence on both scholarship and academic curricula.

 

 

H-France Forum 17.5 (2022) | Anne Lafont’s L’art et la race

Posted in books, journal articles, reviews by Editor on August 8, 2022

The latest issue of H-France Forum, edited by Melissa Hyde, is dedicated to Anne Lafont’s L’art et la race. Melissa notes that since she is issue editor for H-France Forum in art history, we can expect to see one issue a year devoted to a recent book in French art history. She welcomes suggestions. And with some 4000 subscribers, H-France is a great place to make art history more visible. So, send her your ideas! CH

H-France Forum 17.5 (2022)
Issue edited by Melissa Hyde, University of Florida

Anne Lafont, L’art et la race : l’Africain (tout) contre l’œil des Lumières (Dijon: Les presses du réel, 2019).

Review Essays
• Christy Pichichero, George Mason University
• Andrew Curran, Wesleyan University
• Zirwat Chowdhury, University of California, Los Angeles
• Charlotte Guichard, CNRS and Ecole Normale Supérieure

Response Essay
• Anne Lafont, EHESS

All essays are available here»

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