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Journal18, #1 Multilayered (Spring 2016)

Posted in journal articles, reviews by Editor on April 1, 2016

The inaugural issue of J18 is now available!

Issue1_CoverJournal18, #1 Multilayered (Spring 2016)

A R T I C L E S

• David Pullins, “Stubbs, Vernet & Boucher Share a Canvas: Workshops, Authorship & the Status of Painting”
•  Charlotte Guichard, “Scratched Surfaces: Artists’ Graffiti in Eighteenth-Century Rome”
• Kristel Smentek, “China and Greco-Roman Antiquity: Overture to a Study of the Vase in Eighteenth-Century France”
• Dipti Khera, “Marginal, Mobile, Multilayered: Painted Invitation Letters as Bazaar Objects in Early Modern India”

Art history’s material turn, informed by anthropology, material culture, and consumption studies, has prompted new interest in both the physicality and the social lives of artworks. Examining the ways that eighteenth-century art objects were produced, transported, and transformed helps us to understand how they were perceived and reimagined in different cultural and temporal contexts. In the workshops and collective spaces of artistic design and manufacture, objects became the creative products of many minds and many hands, simultaneously and successively. Likewise in their afterlives as commodities and possessions, objects were continually altered through use and re-use, each transaction constituting a reframing—sometimes literal—as objects inhabited new settings or were subjected to damage, aging, or rejuvenation.

This inaugural issue of Journal18 explores the multilayered nature of eighteenth-century art. Our focus is on artworks that bear traces of multiple hands as a result of workshop production, cross-cultural exchange, re-use, restoration, vandalism, or other factors. Among the questions considered are: who were the many people involved in art’s production and reproduction (artists, collectors, scholars, dealers, handlers, and restorers)? How were eighteenth-century artworks made, re-purposed, transported, and conserved? How were they translated across media as well as across time, space, and culture? And what is the creative effect of non-creative acts like accidents or defacement? By taking a ‘multilayered’ approach, the articles in this issue not only reexamine traditional art-historical categories—such as style, originality, or authorship—but also encourage new methodological perspectives and find new meaning in the materiality of art objects.

N O T E S  &  Q U E R I E S

Woven Gold: Tapestries of Louis XIV – by Robert Wellington
Qing Encounters – by Craig Clunas
A Lacquered Past: The Making of Asian Art in the Americas – by Sylvia Houghteling
Castiglione and China: Marking Anniversaries – by Kristina Kleutghen
A Digitally Usable Period Room – by Anne Higonnet
Ornamenting Louis XIV – by Sarah Grant
Pastel will Travel. Liotard at the Royal Academy – by Francesca Whitlum-Cooper
Ceci n’est pas un portrait: A Curator’s Diary – by Melissa Percival
China in Wonderland – by Michelle Wang
Shock Dog! New Sculpture at the Met – by Paris Amanda Spies-Gans

Issue Editors
Noémie Etienne, Getty Research Institute, Los Angeles
Meredith Martin, NYU and Institute of Fine Arts
Hannah Williams, Queen Mary University of London

Cover image: Detail of Louis-Léopold Boilly, Trompe l’œil, ca. 1804–07. Source: Wikimedia Commons.

The Burlington Magazine, November 2015

Posted in journal articles, reviews by Editor on November 19, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (November 2015)

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Interior of the Church of Santiago de Surco, Lima, Peru, attributed by Gauvin Alexander Bailey to Johann Rehr and Santiago Rosales, before 1759–1773.

A R T I C L E S

• Gauvin Alexander Bailey, “The Fantastical Rococo Altarpieces of Santiago de Surco, Peru,” pp. 769–75.

R E V I E W S

• Simon Swynfen Jervis, Review of Giuseppe Beretti and Alvar González-Palacios, Giuseppe Maggiolini: Catalogo ragionato dei disegni (In Limine, 2014) and Michael Sulzbacher, Peter Atzig, Sabine Schneider, and Karsten Hommel, Friedrich Gottlob Hoffmann (Grassi Museum, 2014), pp. 790–91.

• David Bindman, Review of William Pressly, James Barry’s Murals at the Royal Society of Arts: Envisioning a New Public Art (Cork University Press, 2014), pp. 791–92.

• Richard Green, Review of Christopher Wright, The Schorr Collection of Old Master and Nineteenth-Century Paintings (The Schorr Collection, 2014), pp. 792–93.

• David Pullins, Review of Carolyn Weekley, Painters and Paintings in the Early American South (Yale University Press, 2013), p. 795.

New Book | Figures Publiques: L’invention de la Célébrité, 1750–1850

Posted in books, reviews by Editor on September 20, 2015

From Fayard:

Antoine Lilti, Figures Publiques: L’invention de la Célébrité, 1750–1850 (Paris: Fayard, 2014), 436 pages, ISBN: 978-2213682389, 24€.

9782213682389-X_0Bien avant le cinéma, la presse à scandale et la télévision, les mécanismes de la célébrité se sont développés dans l’Europe des Lumières, puis épanouis à l’époque romantique sur les deux rives de l’Atlantique. Des écrivains comme Voltaire, des comédiens comme Garrick, des musiciens comme Liszt furent de véritables célébrités, suscitant la curiosité et l’attachement passionné de leurs « fans ». À Paris comme à Londres, puis à Berlin et New York, l’essor de la presse, les nouvelles techniques publicitaires et la commercialisation des loisirs entraînèrent une profonde transformation de la visibilité des personnes célèbres. On pouvait désormais acheter le portrait de chanteurs d’opéra et la biographie de courtisanes, dont les vies privées devenaient un spectacle public. La politique ne resta pas à l’écart de ce bouleversement culturel : Marie-Antoinette comme George Washington ou Napoléon furent les témoins d’un monde politique transformé par les nouvelles exigences de la célébrité. Lorsque le peuple surgit sur la scène révolutionnaire, il ne suffit plus d’être légitime, il importe désormais d’être populaire.

À travers cette histoire de la célébrité, Antoine Lilti retrace les profondes mutations de la société des Lumières et révèle les ambivalences de l’espace public. La trajectoire de Jean-Jacques Rousseau en témoigne de façon exemplaire. Écrivain célèbre et adulé, celui-ci finit pourtant par maudire les effets de sa « funeste célébrité », miné par le sentiment d’être devenu une figure publique que chacun pouvait façonner à sa guise. À la fois désirée et dénoncée, la célébrité apparaît comme la forme moderne du prestige personnel, adaptée aux sociétés démocratiques et médiatiques, comme la gloire était celle des sociétés aristocratiques. C’est pourtant une grandeur toujours contestée, dont l’histoire éclaire les contradictions de notre modernité.

Antoine Lilti est directeur d’études à l’École des hautes études en sciences sociales. Ses travaux portent sur l’histoire sociale et culturelle des Lumières. Il a notamment publié Le Monde des salons. Sociabilité et mondanité à Paris au xviiie siècle (Fayard, 2005).

For a review of the book, see Jessica Goodman, French Studies 69 (2015): 535–36. 

The Burlington Magazine, July 2015

Posted in books, exhibitions, journal articles, reviews by Editor on July 22, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (July 2015)

201507-coverA R T I C L E S

• Peter Lindfield, “New Light on Chippendale at Hestercombe House,” pp. 452–56.

• Susan Owens, “A Note on Jonathan Richardson’s Working Methods,” pp. 457–59.

• Peter Moore and Hayley Flynn, “John Collett’s Temple Bar and the Discovery of a ­Preparatory Study,” pp. 460–64.

• Alycen Mitchell and Barbara Pezzini, “‘Blown into Glittering by the Popular Breath’: The ­Relationship between George Romney’s Critical Reputation and the Art Market,” pp. 465–73.

R E V I E W S

• Charles Truman, Review of Gerhard Röbbig, ed., Meissen Snuffboxes of the Eighteenth Century (Hirmer Verlag, 2013), p. 484.

• Maureen Cassidy-Geiger, Review of Haydn Williams, Turquerie: An Eighteenth-Century European Fantasy (Thames & Hudson, 2014), p. 487.

• J.V., Review of Ian Warrell, Turner’s Sketchbooks (Tate Publishing, 2014), p. 488.

• Robert O’Byrne, Review of the exhibition, Ireland: Crossroads of Art and Design, 1690–1840, p. 509–10.

The Art Bulletin, June 2015

Posted in journal articles, reviews by Editor on June 3, 2015

The eighteenth century in The Art Bulletin:

The Art Bulletin 97 (June 2015)

A R T I C L E S

Jean-Honoré Fragonard, Young Girl in Bed Making Her Dog Dance, ca. 1768 (Munich: Alte Pinakothek)

Jean-Honoré Fragonard, Young Girl in Bed Making Her Dog Dance, ca. 1768 (Munich: Alte Pinakothek)

• Jennifer Milam, “Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté,” pp. 192–209.

Enlightenment writers proposed the existence of an animal soul, refuting the Cartesian beast-machine. Arguments credit the caresses of a dog to its master as direct visual evidence of the capacity of an animal to feel and show emotion. A focus on paintings by Jean-Honoré Fragonard sets the Rococo representation of lapdogs within the context of changing ideas about the relationship between animal and human. Eroticized images of lapdogs are related to radical materialist theories that assert the role of physical pleasure in human motivation.

Free access to the article is available here for the first fifty clicks (please don’t click if you already have access to the journal).

R E V I E W S

• Vittoria Di Palma, Review of Hanneke Grootenboer, Treasuring the Gaze: Intimate Vision in Late Eighteenth-Century Eye Miniatures (The University of Chicago Press,
2013), pp. 229–30.

 

 

The Burlington Magazine, May 2015

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on May 26, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (April 2015)

201505-800-1A R T I C L E S

• Tessa Murdoch, “Power and Plate: Sir Robert Walpole’s Silver,” pp. 318–24.

• Julius Bryant, “Queen Caroline’s Richmond Lodge by William Kent: An Architectural Model Unlocked,” pp. 325–30.

R E V I E W S

• Duncan Robinson, Review of Mark Hallet, Reynolds: Portraiture in Action (The Paul Mellon Centre for Studies in British Art, 2014), pp. 341–47. Available at The Burlington website for free.

• Stephen Lloyd, Review of Cory Korkow with Jon Seydl, British Portrait Miniatures: The Cleveland Museum of Art (D. Giles, Ltd., 2013), pp. 349–50.

• Richard Wolfe, Review of the exhibition Shifting Patterns: Pacific Barkcloth Clothing (British Museum, 2015), pp. 361–62.

• Jamie Mulherron, Review of two exhibitions: Charles de La Fosse: Le Triomphe de la Couleur (Versailles and Nantes, 2015) and Bon Boullogne (1649–1717): Un chef d’école au Grand Siècle (Dijon, 2014–15), pp. 365–67.

 

The Burlington Magazine, April 2015

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on April 25, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (April 2015)

1345-201504A R T I C L E S

• Marie-Anne Dupuy-Vachey, “Fragonard’s ‘Fantasy Figures’: Prelude to a New Understanding,” pp. 241–47.

• Yuriko Jackall, John K. Delaney, and Michael Swicklik, “Portrait of a Woman with a Book: A Newly Discovered ‘Fantasy Figure’ by Fragonard at the National Gallery of Art, Washington,” pp. 248–54.

R E V I E W S

• Richard Wrigley, “Reassessing François-André Vincent,” — Review of recent exhibitions of Vincent’s work at Montpellier, Tours, and Paris and two books: Jean-Pierre Cuzin, François-André Vincent, 1746–1816: Un Peintre entre Fragonard et David (Arthéna, 2013) and Elizabeth Mansfield, The Perfect Foil: François-André Vincent and the Revolution in French Painting (University of Minnesota Press, 2012), pp. 265–68.

• François Marandet, Review of Christian Michel, L’Académie Royale de Peinture et de Sculpture (Librairie Droz, 2012), p. 276.

• Julia Poole, Review of Joanna Gwilt, Vincennes and Early Sèvres Porcelain from the Belvedere Collection (V&A Publishing, 2014), pp. 276–77.

• Stephen Duffy, Review of France Nerlich and Alain Bonnet, eds., Apprendre à Peindre: Les ateliers Privés à Paris, 1780–1863 (Université Francois Rabelais, 2013), p. 277.

• Reinier Baarsen, Review of the exhibition Eighteenth Century, Birth of Design, Furniture Masterpieces, 1650–1789 / 18e, aux sources du design, chefs-d’œuvre du mobilier 1650 à 1790 (Château de Versailles, 2014–15), pp. 285–86.

• Gauvin Alexander Bailey, Review of the exhibition With Body and Soul / Mit Leib und Seele (Munich: Kunsthalle, 2014–15), pp. 286–88. Available at The Burlington website for free.

• Xavier Salomon, Review of the exhibition Goya’s Tapestry Cartoons in the Context of Court Painting / Goya en Madrid: Cartones para Tapices (Madrid: Prado, 2014–15), pp. 290–91.

• Catherine Whistler, Review of the exhibition, The Poetry of Light: Venetian Drawings from the National Gallery of Art, Washington / La Poesia della Luce: Disegni Veneziani dalla National Gallery of Art di Washington (Venice: Museo Correr, 2014–15), pp. 293–94.

Exhibition | El Retrato en las Colecciones Reales

Posted in books, catalogues, exhibitions, reviews by Editor on April 9, 2015

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Now in its final weeks, this portrait exhibition contains over 100 objects spanning the past five hundred years. Rocío Martínez provides an extremely useful review (in English) for the Royal Studies Journal Blog. The exhibition website provides one of the finest virtual experiences I’ve ever encountered in terms of documenting an exhibition visually. Finally, thanks to Jennifer Germann for pointing all of this out to me (my apologies that it didn’t appear back in December!). CH

El Retrato en las Colecciones Reales: De Juan de Flandes a Antonio López
The Portrait in the Royal Collections: from Juan de Flandes  to Antonio López
Royal Palace, Madrid, 4 December 2014 — 19 April 2015

Curated by Carmen García-Frías Checa and Javier Jordán de Urríes

La exposición El Retrato en las Colecciones Reales. De Juan de Flandes a Antonio López ofrece una visión general del retrato de corte en España, tanto en tiempos de la Casa de Austria como de la Casa de Borbón, desde el siglo XV al XXI, trazando un recorrido por la evolución de la imagen de los monarcas en ese largo medio milenio. Un itinerario jalonado por obras maestras de la pintura y del género del retrato, con los mejores ejemplos conservados en las colecciones de Patrimonio Nacional, que se exponen en doce salas de la planta baja del Palacio Real de Madrid, con el acompañamiento de algunas esculturas, pequeños bronces, varios dibujos y grabados, y un par de tapices-retrato. La exposición se estructura en dos grandes secciones, Casa de Austria y Casa de Borbón, con diferentes apartados que siguen un orden cronológico por reinados.

Giuseppe Bonito, Carlos Antonio de Borbón as the Child Hercules, 1748. Oil on canvas, 128.5 x 102.5 cm. El Pardo, Royal Palace, National Heritage.

Giuseppe Bonito, Carlos Antonio de Borbón as the Child Hercules, 1748, oil on canvas, 128.5 x 102.5 cm (Madrid: Royal Palace)

La primera sección abre con los inicios de la dinastía habsbúrgica en España, mostrando como antecedentes retratos fundamentales de sus antepasados, el Retrato del duque de Felipe el Bueno del taller de Rogier Van der Weyden (de la Casa de Borgoña) y la imagen más fidedigna de la reina Isabel la Católica de Juan de Flandes (de la Casa de los Trastámara). A los grandes retratos oficiales de Carlos V de Jakob Seisenegger y de Felipe II en versión pictórica de Antonio Moro y escultórica de Pompeo Leoni, se une una importantísima muestra de retratos familiares por los pintores más famosos de la corte española de los siglos XVI y principios del siglo XVII, como Alonso Sánchez Coello, Joris Van der Straeten, Juan Pantoja de la Cruz, Bartolomé González o Rodrigo de Villandrando, así como de otras cortes europeas, como Frans Pourbus el Joven o Marcin Kover. Ya en pleno siglo XVII, la magnífica miniatura del conde-duque de Olivares de Diego Velázquez, o el grandioso retrato ecuestre de Juan José de Ribera, sin olvidar a los dos grandes retratistas del reinado de Carlos II, con varios ejemplares de Juan Carreño de
Miranda y Claudio Coello.

En la segunda sección dedicada a la Casa de Borbón desde el siglo XVIII hasta el presente, se exponen los mejores ejemplos del retrato borbónico en Patrimonio Nacional, como el monumental retrato ecuestre de Felipe V, por Louis-Michel van Loo; el de Carlos III con el hábito de su Orden, por Mariano Salvador Maella, también retratos de Giuseppe Bonito y Anton Raphael Mengs; una de las parejas de Carlos IV y María Luisa de Parma, por Francisco de Goya, la espléndida del rey de cazador y la reina con mantilla; destacados ejemplos del retrato decimonónico, con obras de Vicente López, Federico de Madrazo o Franz Xaver Winterhalter, y, finalmente, retratos de Alfonso XIII por Ramón Casas y Joaquín Sorolla para llegar al reinado de Juan Carlos I con El Príncipe de ensueño de Salvador Dalí y el retrato de La familia de Juan Carlos I pintado por Antonio López, que se presenta al público con motivo de esta exposición.

Junto a esas obras maestras de la pintura se exhiben, como complemento, algunos pequeños bronces, un par de tapices-retrato y destacadas esculturas, desde un Felipe II por Pompeo Leoni hasta el retrato doble de los reyes Alfonso XIII y Victoria Eugenia, por Mariano Benlliure. Esas piezas entran así en relación con la pretensión de tridimensionalidad de la pintura.

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The catalogue is available from ArtBooks.com:

Carmen García-Frías Checa and Javier Jordán de Urríes, eds., El Retrato en las Colecciones Reales: De Juan de Flandes a Antonio López (Madrid: Patrimonio Nacional, 2014), 536 pages, ISBN: 978-8471204981, $85.

133769Fundación Banco Santander colabora con Patrimonio Nacional en la preparación de esta muestra títulada El retrato en las Colecciones Reales. De Juan de Flandes a Antonio López. La importancia del género retratístico en las Colecciones Reales se comprende fácilmente, teniendo en cuenta que los mejores artistas de cada momento, han sido grandes retratistas de la Monarquía Española, por lo que las grandes obras de estos excelentes pintores forman parte de los fondos de Patrimonio Nacional. En este exposición contaremos con artistas de la talla de Juan de Flandes, Sánchez Coello, Rubens, Velázquez, Goya, Sorolla, Dalí o Antonio López.

 

The Burlington Magazine, March 2015

Posted in books, exhibitions, journal articles, reviews by Editor on March 29, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (March 2015)

1344-201503A R T I C L E S

• Veronica Maria White, “Guercino’s Beggar Holding a Broken Jug: A Drawing from the Gennari Inventory of 1719,” pp. 169–71.

• Andrew Hopkins, “Palladio and Scamozzi Drawings in England and Their Talman Marks,” pp. 172–80.

• Andrea Tomezzoli, “From Venice to Newport: A Painting by Giambettino ­Cignaroli Lost and Found,” pp. 181–85.

R E V I E W S

• Simon Watney, Review of Stacy Boldrick, Leslie Brubaker, and Richard Clay, eds., Striking Images: Iconoclasms Past and Present (Ashgate Publishing, 2013), pp. 186–89. Available at The Burlington website for free.

• David Scrase, Review of Laura Giles, Lia Markey, and Claire Van Cleave, eds., Italian Master Drawings from the Princeton University Art Museum (Yale University Press, 2014), pp. 197–98.

• Frances Parton, Review of the exhibition Gold (London: Queen’s Gallery, 2014–15), p. 202.

• David Scrase, Review of the exhibition William Blake: Apprentice and Master (Oxford, Ashmolean, 2014–15), pp. 206–07.

 

 

The Art Bulletin, December 2014

Posted in journal articles, reviews by Editor on January 31, 2015

The eighteenth century in The Art Bulletin:

The Art Bulletin 96 (December 2014)

A R T I C L E S

• Cheng-hua Wang, “Whither Art History? A Global Perspective on Eighteenth-Century Chinese Art and Visual Culture,” pp. 379–94.

view-of-jobs2

The Chang Gate (left), 1734, and Three Hundred and Sixty Trades (right), woodblock prints produced in Suzhou, ink and colors on paper; each is 43 x 22 inches (Hiroshima: Umi-Mori Art Museum)

Here, I endeavor to engage the global turn by exploring the connectedness of the world in art that drew China and Europe together in the eighteenth century. My main purpose is to highlight the new scholarship on the art and visual culture of the High Qing dynasty (ca. 1680s–1795). These recent studies reveal that the extent to which the globalized situation was engaged in the art production of the High Qing court and local societies far exceeds previous expectations. Notwithstanding the revered legacy of traditional research on Sino-European artistic interactions of the early modern period, it did not pay much attention to the multiple routes, channels, and contact zones within a global context, nor did it make in-depth explorations into the agency of the Qing emperors, painters, printmakers, and consumers on the issue of how Qing art adopted European styles. Consequently, these new lines of thought have, on the one hand, increased the importance of the comparatively marginal subfield of early modern Sino-European artistic interactions in the studies of Chinese art and, on the other, generated a major revision—not merely a fine-tuning—of the dominant narrative of High Qing art and visual culture (379) . . .

• Nóra Veszprémi, “The Emptiness behind the Mask: The Second Rococo in Painting in Austria and Hungary,” pp. 441–62.

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József Borsos, The Morning after the Masquerade (Girls after the Ball) 1850 (Budapest, Hungarian National Gallery)

At the time of its revival in mid-nineteenth-century Austria, the Rococo style was suffused with often contradictory meanings. Regarded as both outdated and fashionable, Austrian and French, simple and pompous, superficial and full of spiritual value, it prompted musings on time, history, and national identity. Closely connected to both the decorative arts and the imagery of popular prints, paintings of the Rococo revival often evoked contemporary concerns about the commodification of art in the industrialized modern world. The ambiguous responses engendered by the Rococo gained special significance in the context of the political tension between Austria and Hungary.

R E V I E W S

• Rebecca Zorach, Review of Andrea Feeser, Maureen Daly Goggin, and Beth Fowkes Tobin, eds., The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400–1800 (Ashgate, 2012); and Jeffrey Jerome Cohen, ed., Prismatic Ecology: Ecotheory beyond Green (University of Minnesota Press, 2013), pp. 489–91.

• Brian Kane, Review of Whitney Davis, A General Theory of Visual Culture (Princeton University Press, 2011), pp. 491–93.