Art History 48 (February 2025)
The 18th century in the latest issue of Art History:
Art History 48 (February 2025)
a r t i c l e s
• Oliver Wunsch, “The Aesthetic Redemption of the Black Body in Eighteenth-Century France,” pp. 14–44.
Audiences in eighteenth-century France felt little compunction about admiring African people in art while denigrating them in life. They reconciled this apparent contradiction through a belief in the ameliorative effects of art, yielding what is described here as a theory of aesthetic redemption. This essay argues that the theory of aesthetic redemption that developed in eighteenth-century France gave art a unique position in the construction of race. Because those who believed in the possibility of aesthetic redemption distinguished between art’s content and its manner of representation, they created the conditions for artists to depict people of colour using materials, techniques, and formal structures whose qualities would otherwise be considered at odds with the subject. The resulting art often strikes audiences today as progressive, yet it did little to challenge the biases of the original viewers, who admired aesthetic departures from stereotypes precisely because they took those stereotypes for granted.
• Diarmuid Costello, “Die Schönheit des Mittelmenschen: Stephan Balkenhol’s ‘Everyday Beauty’,” pp. 132–61.
This essay considers Stephan Balkenhol’s ‘everyman and woman’ sculptures through the optic of Kant’s ‘ideal of beauty’ (§17, Critique of Aesthetic Judgement, 1790). I take a pair of miniature figures as my test case. Despite minor variations, all these sculptures depict the same generic man and woman, a man or woman who average or middling in every way. What could make depictions of average everydayness so compelling? For a clue, I turn to Kant’s ‘ideal of beauty’. This comprises a ‘standard aesthetic idea’ and an ‘idea of reason’: the former is a (culturally specific) ‘model image’ of the human being; the latter implicates Kant’s (universal) conception of ‘humanity in the person’, where the latter manifests itself through the former. I ask whether this illuminates Balkenhol’s work, suggesting that although the relevance of the former is clear, and the latter less so, there is reason not to rule it out.
• Viccy Coltman, “Travelling Knick-Knacks and Picturesque Points of View: Reverend James Plumptre’s Narrative of a Pedestrian Journey … to the Highlands of Scotland … in the Summer of the Year 1799,” pp. 162–84.
This essay revisits later eighteenth-century picturesque aesthetics in Britain as they were articulated in theory, applied in practice, and reproduced in travel literature and art. It considers the sometimes congruent, at other times contested, relationship between the natural landscape, written descriptions of that landscape, and its pictorial representation. Focusing on unpublished extracts from Reverend James Plumptre’s manuscript travel journal, Narrative of a Pedestrian Journey […] to the Highlands of Scotland […] in the Summer of the Year 1799, it argues for an original interpretation of the pedestrian picturesque as a suite of practices which entailed travelling by foot, viewing the landscape with a range of hand-held implements or ‘knick-knacks’, and representing nature ‘as seen’ without remedial artistic correction or improvement. According to this account, ‘people, places, and things’ becomes a useful rubric for conceptualising Plumptre’s 1799 pedestrian tour of Scotland which included visits to the Edinburgh studios of artists Alexander Nasmyth, Henry Raeburn, and Hugh William Williams.
r e v i e w s
• Brigid von Preussen, “A Woman’s Work,” Review of Paris Spies-Gans, A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760–1830 (Yale UP, 2022) and Rosalind Blakesley, Women Artists in the Reign of Catherine the Great (Lund Humphries, 2023), pp. 186–92.
The Burlington Magazine, March 2025
The long 18th century in the March issue of The Burlington:
The Burlington Magazine 167 (March 2025)
Cover of The Burlington Magazine with a recent acquisition at The Met: Longcase equation regulator, clockmaker: Ferdinand Berthoud, case maker: Balthazar Lieutaud, ca. 1752 (New York: The Metropolitan Museum of Art, 2016.28a–e).
e d i t o r i a l
• “A Frick Renaissance,” p. 203–05.
On 17th April 2025 the Frick Collection on Fifth Avenue re-opens after a long period of redevelopment. When an old friend has a face lift, the results can be disconcerting. Happily, the impact here is, however, reassuringly subtle—as the splendid Gilded-age character of one of New York’s iconic cultural institutions has been retained, while elegant new facilities have been deftly integrated.
a r t i c l e s
• Julia Seimon, “Two Boys with a Bladder in the J. Paul Getty Museum and Joseph Wright of Derby’s Early Candlelights,” pp. 242–57.
A careful re-assessment of Joseph Wright of Derby’s painting of Two Boys with a Bladder in the Getty’s collection, supported by documentary discoveries, clarifies the circumstances of the painting’s creation and first exhibition and has significant implications for dating several of the artist’s other painted and drawn works.
s h o r t e r n o t i c e s
• Oliver Fairclough, “Paul Sandby and Sir Watkin Williams-Wynn Revisited,” pp. 258–61.
• Christina Milton O’Connell, “Observations about the Abandoned Portrait beneath Gainsborough’s Blue Boy,” pp. 26–65.
r e v i e w s
Cover of Être sculpteur à Florence au temps des derniers Médicis, featuring a photograph of Giovanni Battista Foggini’s Adoration of the Shepherds, ca. 1675, marble (Saint Petersburg: Hermitage).
• Nicola Ciarlo, Review of Kira d’Alburquerque, Être sculpteur à Florence au temps des derniers Médicis (CTHS, 2023), pp. 292–94.
• Adam Bowett, Review of Stephen Jackson, Scottish Furniture 1500–1914 (NMS Publishing, 2024), pp. 296–98.
• Penelope Curtis, Review of the exhibition catalogue Souvenirs de jeunesse: Entrer aux Beaux-Arts de Paris 1780–1980, edited by Alice Thomine-Berrada (Beaux-Arts de Paris, 2024), pp. 298–99.
• Alan Powers, Review of Edward McParland, The Language of Architectural Classicism: From Looking to Seeing (Lund Humphries Publishers, 2025), pp. 299–300.
• Max Marmor, Review of Julius von Schlosser, The Literature of Art: A Manual for Source Work in the History of Early Modern European Art Theory, translated by Karl Johns (Ariadne Press, 2023), p. 303.
s u p p l e m e n t
• Sarah Lawrence, “Recent Acquisitions (2014–24) of European Decorative Arts at The Metropolitan Museum of Art,” pp. 305–24.
Journal18, Fall 2024 — Craft
The latest issue of J18 (I’m sorry to be slow with this one! –CH) . . .
Journal18, Issue #18 (Fall 2024) — Craft
Issue edited by Jennifer Chuong and Sarah Grandin
When, where, and why does craft matter? Craft, by definition, is any activity involving manual skill. But in the modern western world, the term typically implies specific kinds of activities that produce specific kinds of objects: things like baskets, lace, and lacquerware. In a culture that has historically privileged rationality and innovation, craft’s commitment to tradition, reliance on haptic knowledge, and association with marginalized subjects have rendered it the minor counterpart to more ‘serious’ forms of material production. As a subsidiary to art and industry, craft has often occupied a circumscribed role in accounts of modern art and modernity’s origins in the eighteenth century. Recently, however, craft—as a more capacious category of material production—has become a crucial term in efforts to expand and diversify the study of eighteenth-century art.
This special issue builds on recent investigations while considering how craft’s ancillary role within the Anglo-European tradition has limited its capacity to transform the field. Drawing inspiration from the absence of an art/craft divide in many cultures, we are interested in exploring craft’s potential to radically reframe, reconceptualize, and globalize the history of art.
a r t i c l e s
Elizabeth Eager — Labor, Leisure, and Lost Time in Eighteenth-Century Women’s Embroidery
Yve Chavez — Eighteenth-Century Loom and Basket Weaving at the California Missions
Hampton Smith — Insurgent Tooling and the Collective Making of Slave Revolts
Natalie E. Wright and Glenn Adamson — Encyclopædia Materia: Material Intelligence and Common Knowledge
Julie Bellemare, N. Astrid R. van Giffen, and Robert Schaut — Hot Tempered: Recreating a Lost Glass Recipe
Caroline Wigginton — Reading with Indigenous Form: Lucy Tantaquidgeon Tecomwas’s Moccasins (ca. 1767)
Ellen Siebel-Achenbach — Bookbinding in Eighteenth-Century Nuremberg: Reconstructing an Edge Plough from the Hausbücher der Nürnberger Zwölfbrüderstiftungen
All articles are available for free here, along with recent notes & queries:
r e c e n t n o t e s a n d q u e r i e s
Lytle Shaw — A Pirate Primer? Review of Stan Douglas: The Enemy of All Mankind
Sofya Dmitrieva — The Art Collection of the French Royal Academy of Painting and Sculpture: Notes on the Database
Jennifer Laffick — Lethière in Williamstown and Paris: A Transatlantic Exhibition Review
Kristina Kleutghen — Beijing to Dresden via St. Petersburg: An Early Qing Enameled Snuff Bottle in the Collection of Augustus II the Strong
Geoff Quilley — Lubaina Himid’s Naming the Money at the Entangled Pasts, 1768-now Exhibition, Royal Academy, London
Print Quarterly, March 2025
Thomas Daniell, The Old Court House and Writers’ Building, 1786, hand-coloured etching, 403 × 524 mm
(Philadelphia Museum of Art; image Thomas Primeau).
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 42.1 (March 2025)
a r t i c l e s
• Jalen Chang, “‘Bengalee Work’ before Aquatint: Thomas Daniell’s Views of Calcutta”, pp. 20–30.
This article reevaluates eleven hand-coloured etchings by Thomas Daniell (1749–1840) held by the Philadelphia Museum of Art, previously presumed to be published states of his 1786–88 print series Views of Calcutta, often cited as the earliest aquatints made outside of Europe. Devoid of the rudimentary aquatinting and hand-coloured skies which characterize other extant examples, the relatively bare objects document a distinct stage of Daniell’s artistic process and are unprecedented in their survival. The article suggests that these prints were trial proofs never intended for publication or sale, meant instead to serve as colour tests for Daniell and his team of Indian copyists. Furthermore, the article considers early imperial printmaking and its ideological functions in British India.
Charlotte Bonaparte, Self-Portrait, ca. 1824–26, oil on canvas, 885 × 730 mm (Princeton University Art Museum).
• Thomas Busciglio-Ritter, “From Brussels to Point Breeze: Charlotte Bonaparte’s Lithographic Landscapes, 1821–25”, pp. 31–43.
This article discusses a series of twelve lithographs by Charlotte Bonaparte (1802–1839), niece to Napoleon I, of North American views known as the Vues pittoresques de l’Amérique dessinées par la Comtesse Charlotte de Survillier (printed 1824), which she completed and disseminated on her return to Europe. The series, published in Brussels, became the first lithographic scenic views of the United States to circulate among western European audiences. The article situates Bonaparte’s landscape views within the context of transatlantic print culture of the early nineteenth century, touching on the role of women as producers of landscape images and the introduction of lithography as a new medium for American audiences.
n o t e s a n d r e v i e w s
• Bernard Aikema, Review of the exhibition catalogue Connecting Worlds: Artists and Travel, ed. by Anita Viola Sganzerla and Stephanie Buck (Paul Holberton Publishing, 2023), pp. 64–66.
• Catherine Jenkins, Review of the exhibition catalogue Trésors en noir et blanc. Estampes du Petit Palais, de Dürer à Toulouse-Lautrec, by Anne-Charlotte Cathelineau, Joëlle Raineau-Lehuédé, and Clara Roca (Paris Musées, 2023), pp. 74–76.
• Ellis Tinios, Review of Hokusai’s Fuji, ed. by Kyoko Wada (Thames and Hudson, 2023), pp. 76–77.
• Victoria Sancho Lobis, Review of Aaron Hyman, Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021), pp. 99–105.
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.
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.
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.
The Burlington Magazine, October 2024
The long 18th century in the October issue of The Burlington:
The Burlington Magazine 166 (October 2024)
e d i t o r i a l
• “Restoring the ‘belle époque’,” pp. 995–96.
The Musee Jacquemart-André is a treasure house that graces the Haussmann boulevards in Paris and is perhaps not nearly as well-known as it should be. The recent re-opening of the museum on 6th September, following a period of closure for conservation, therefore provides a welcome opportunity to draw fresh attention to this most romantic and beguiling of collections and the elegant building that houses it.
a r t i c l e s
• Jacob Willer, “Annibale Carracci and the Forgotten Magdalene,” pp. 1028–35.
A painting the collection of the National Trust at Kedleston Hall, Derbyshire, is published here as a work of Annibale Carracci’s maturity. Related to comparable compositions which derive from it, in collections in Rome and Cambridge, it was acquired in Florence in 1758 for the 1st Baron Scarsdale.
• Samantha Happé, “Portable Diplomacy: Louis XIV’s ‘boîtes à portrait’,” pp. 1036–43.
Louix XIV’s ambitious and carefully orchestrated diplomatic programme included gifts of jewelled miniature portraits known as ‘boîtes à portrait’. Using the ‘Présents du Roi’, the circumstances around the commissioning and creation of these precious objects can be explored and a possible recipient suggested for a well-preserved example now in the Musée du Louvre, Paris.
r e v i e w s
• Alexander Collins, Review of the exhibition André Charles Boulle (Musée Condé, Château de Chantilly, 2024), pp. 1056–59.
• Claudia Tobin, Review of the exhibition The Shape of Things: Still Life in Britain (Pallant House Gallery, 2024), pp. 1067–69.
Helen Hillyard, Review of of the recently renovated galleries of the Barber Institute of Fine Arts, Birmingham, pp. 1077–79.
• Colin Thom, Review of Steven Brindle, Architecture in Britain and Ireland, 1530–1830 (Paul Mellon Centre, 2024), pp. 1080–81.
• Christopher Baker, Review of Bruce Boucher, John Soane’s Cabinet of Curiosities: Reflections on an Architect and His Collection (Yale University Press, 2024), pp. 1087–88.
o b i t u a r y
• Christopher Rowell, Obituary for Alastair David Laing (1944–2024), pp. 1094–96.
Although renowned in particular for his expertise on the art of François Boucher, Alastair Laing had very wide-ranging art historical taste and knowledge, which he shared with great generosity of spirit. He curated some important exhibitions and brought scholarly rigour to his inspired custodianship of the art collections of the National Trust.
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