Enfilade

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.

SalaOuro15Foto03

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.

The Burlington Magazine, January 2015

Posted in journal articles, reviews by Editor on January 18, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (January 2015)

grison

Jean-Baptiste Lemoyne, Portrait of Marie Leszczyńska, terracotta, approx 43 cm high, ca. 1750 (Paris: Fondation Custodia). The bust was acquired in 2013.

A R T I C L E S

• Marie-Noëlle Grison, “A Newly Discovered Bust of a Woman by Jean-Baptiste Lemoyne,” pp. 9–13.

R E V I E W S

• Giles Waterfield, Review of James Anderson Winn, Queen Anne: Patroness of Arts (Oxford University Press, 2014), p. 35.
• Jörg Garms, Review of Robin Thomas, Architecture and Statecraft: Charles of Bourbon’s Naples, 1734–1759 (Penn State University Press, 2013), pp. 35–36.
• Martin Postle, Review of Diana Donald, The Art of Thomas Bewick (Reaktion Books, 2013), pp. 36–37.

Reviewed | Judith Bonner on ‘The Coast and the Sea’

Posted in books, catalogues, exhibitions, reviews by Editor on August 3, 2014

Linda S. Ferber, The Coast and the Sea: Marine and Maritime Art in America (New York and London: New-York Historical Society in association with D. Giles Limited, 2014), 104 pages, ISBN 978-1907804311, $30 / £20.

Reviewed for Enlade by Judith H. Bonner

Coast-and-Sea-jkt-02-13w-front2The New-York Historical Society, that city’s oldest museum, is celebrating its recent reopening after its lengthy renovation with a traveling exhibition and accompanying catalogue by Linda S. Ferber.1 The exhibition features more than 60 artworks and artifacts, primarily paintings, including portraits, genre scenes, and marine and maritime scenes. Overall, the images document the development of the New York area with its harbor and its close relationship with the Atlantic Ocean, the great maritime highway for trade and immigration.

Works selected for the exhibition have their origins in the eighteenth century, beginning in 1728 and ending in 1904. Maritime-related artifacts include a vintage spyglass, scrimshaw, snuff boxes, and an 1816 silver presentation soup tureen commemorating acts of bravery during the War of 1812. The provenance of each artwork documents the development of the New-York Historical Society, as well as the city’s art collectors, their tastes, and their interests.

The exhibition features work by artists whose names are familiar, as well as those who are unfamiliar. The painters include Thomas Birch, Thomas Buttersworth, Carlton Theodore Chapman, Thomas Cole, Jasper Francis Cropsey, Julian Oliver Davidson, Mauritz Frederick Hendrick De Haas, James Guy Evans, Robert Havell Jr., John Frederick Kensett, Rembrandt Peale, Francis Augustus Silva, and John Vanderlyn.

Several artists had nautical experience that informed their art in subject, rigging, and construction of the vessels. Buttersworth served in the British navy, while De Haas held an artist’s commission in the Dutch navy. James Guy Evans possibly served in the American navy. Chapman ran away to sea as a teenager; and Davidson sailed the globe, making sketches that provided visual sources for many years. Evident in these artists’ works is their understanding of the action of waves and atmospheric effects over the seas at different times of the day or season.

The marine subjects include frigates engaged in famous sea battles, working vessels and bustling port scenes, marine recreation scenes, portraits of heroic sea captains, and pioneering merchants. Marine scenes focus on recreation, shipwrecks, disasters, and military encounters, particularly those in the War of 1812 and Civil War. The exhibition spreads its reach down the East Coast, swinging farther south to the Battle of Mobile Bay in the Gulf of Mexico and the Battle of Port Hudson up the Mississippi River about 100 miles above New Orleans.

Portraitists range from eighteenth-century painter John Wollaston to early nineteenth-century painters John Vanderlyn and Rembrandt Peale, the latter of whom executed a portrait of naval hero Commodore Stephen Decatur in dress uniform and set against a dramatic stormy sky. Wollaston’s circa-1750 portrait of wealthy colonial merchant-shipbuilder Captain John Waddell, who owned a fleet of ships, sets the stage for the succession of ships’ portraits seen throughout the catalogue. Early portraits include personages having distinguished careers or an association with maritime enterprises. The sitter is often shown near an open window through which one views a conventionalized seascape or harbor scene with masted vessels. Other sitters are shown with maps, globes, compass, a spyglass, or other maritime instruments.

The catalogue is well researched and documented with a select bibliography. Explanations of the marine scenes are succinct yet vivid; the prose is fluid and often poetic. Ferber distinguishes between marine scenes—which focus on the pure seascape, its coast and environs—and maritime paintings. The latter, Ferber explains, emphasize human activity and other enterprises on shore or at sea. Her knowledge of nautical terminology and national history is evident throughout. She traces visual conventions from their development in seventeenth-century Holland, their passage into the British school of marine painting, and subsequent introduction into English colonies in the New World.

Ferber consistently places artworks within a broader historical context and, when appropriate, within a cultural narrative. Brief biographical sketches of artists trace their artistic development within the maritime tradition. Ferber discusses allegorical themes in paintings, as well as the effect that nostalgic longing for historically simpler times had upon the proliferation and re-creation of popular scenes celebrating heroic national victories and spirited naval encounters.

The book invites readers to the repeated examination of the images, some of which, like those illustrating the America’s Cup, are iconic. Truly memorable is a painting by Howard Pyle, A Privateersman Ashore (1893), shown in historically correct clothing and accouterments. The privateer stands near the Battery and Castle Clinton at the time of the War of 1812, posed and preening, with smoke from his cigar curling upward from the corner of his mouth as townspeople in the distance look toward him with disdain. The latter is a comment about the disapprobation citizens held for such freebooters, who preyed upon British ships.

Closing this maritime jaunt through history are two paintings. The first, by Andrew Meyer, shows President Grover Cleveland reviewing a naval parade in New York Harbor as the setting for opening ceremonies of Chicago’s Columbian Exposition in 1893, with the Statue of Liberty clearly visible, as though she also stands in review of the parade. Lastly, in 1904 Chapman portrays the Great East River Bridge (now Brooklyn Bridge) over the East River, celebrating New York’s location on the rim of the Atlantic, the gateway to America.

 


1. Venues for exhibition include: The Society of the Four Arts, Palm Beach, Florida (25 January — 9 March 2014); The Baker Museum of Art, Naples, Florida (19 April — 6 July 2014); Portland Museum of Art, Portland, Maine (January — May 2015); The Mattatuck Museum, Waterbury, Connecticut (6 June — 13 September 2015); and The New York State Museum, Albany, New York (24 October 2015 — 22 February 2016).

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Judith H. Bonner is Senior Curator and Curator of Art at The Historic New Orleans Collection.

The Burlington Magazine, July 2014

Posted in books, journal articles, reviews by Editor on July 18, 2014

The eighteenth century in The Burlington:

The Burlington Magazine 156 (July 2014)

coverA R T I C L E S

Conor Lucey, “Bas-reliefs after Angelica Kauffman,” pp. 44044.
Plaster reliefs for interiors in Ireland based on designs of the 1770s by Angelica Kaufmann.

Paul Hetherington and Jane Bradney, “The Architect and the Philhellene: Newly Discovered Designs by John Nash for Frederick North’s London House,” pp. 44552.
John Nash’s designs (c.1813) for Frederick North’s unrealised house on what is now Waterloo Place, London, are published here for the first time.

R E V I E W S

• Todd Longstaffe-Gowan, Review of Elizabeth McKellar, Landscapes of London: The City, the Country, and the Suburbs, 16601840 (Paul Mellon Centre for Studies in British Art, 2013), pp. 46768.

Xavier F. Salomon, Review of Denis Tod, Giambattista Crosato: Pittore del Rococò Europeo (Scripta Edizioni, 2013), pp. 46869.

Philippe Malgouyres, Review of Anne-Lise Desmas, Le Ciseau et la Tiare: Les Sculpteurs dans la Rome des Papes, 17241758 (Collection de l’Ecole Française de Rome, 2012), p. 469.

Richard Edgcumbe, Review of Charles Truman, The Wallace Collection: Catalogue of Gold Boxes (Wallace Collection, 2013), p. 470.

Journal of the History of Collections, July 2014

Posted in journal articles, reviews by Editor on June 28, 2014

The eighteenth century in the Journal of the History of Collections (though other pieces for periods both earlier and later will likely also be of interest) . . .

Journal of the History of Collections 26 (July 2014)

A R T I C L E S

Alexander Echlin, “Dynasty, Archaeology and Conservation: The Bourbon Rediscovery of Pompeii and Herculaneum in Eighteenth-Century Naples,” pp. 145–59 (first published online 1 April 2014).

The rediscovery of the ancient sites of Pompeii and Herculaneum in the eighteenth century attracted a huge response from contemporary commentators. Many of these, as well as almost all subsequent judgements from historians, are very critical of the Bourbon excavators. Charles, King of Naples, and his team of antiquaries have been depicted as charlatans, treating ancient artefacts and the sites poorly, interested in them only in so far as they glorified their kingdom. In this article it is argued that, with an understanding of contemporary approaches to antiquity and conservation, this verdict on the Bourbons seems unduly harsh. Their archaeological methods and treatment of classical art were typical for the eighteenth century and were, in some ways, progressive. In support of this harsh judgement of Charles, Winckelmann has been portrayed as a savage critic of the excavations; in reality he was kinder to the Bourbons than historians have believed.

Julia Lenaghan, “The Cast Collection of John Sanders, Architect, at the Royal Academy, ” pp. 193–205 (first published online 4 November 2013).

John Sanders (1768–1826) was an architect and a Fellow of the Society of Antiquaries of London. He was the first student and a life-long friend of Sir John Soane. In 1817 in retirement he travelled to the Continent, where he studied and recorded with academic zeal the architectural monuments of the classical world which had so influenced his mentor and his world. In Rome he amassed a comprehensive and original collection of plaster casts of ‘architectural’ details. This collection was purchased by the Royal Academy in 1830, and much of it remains today part of the permanent collection of the Academy. This article presents the history and use of this early, non-figural, collection of plaster casts.

Paulo Oliveira Ramos, “The Royal Decree of 1721 and the Ephemeral Archaeological Collection of the Royal Academy of Portuguese History,” pp. 223–27 (first published online 22 January 2014).

In the great Lisbon earthquake of 1755, the palace of the Dukes of Braganza collapsed and its priceless treasures were lost forever. Although the content of its archaeological collection—said to constitute the first Portuguese museum of archaeology—is almost impossible to recover in detail today, the process behind its formation can be glimpsed in the documentary record. Two main aspects have emerged in the course of the present research: on the one hand, the relevance of the Royal Decree of 1721 as a crucial moment in the history of heritage preservation in Portugal and in Europe—and also as the inspiration for the archaeological collection; and, on the other hand, the antiquarian commitment of the Marquis of Abrantes.

Stephen Clarke, “Rosamond’s Bower, The Pryor’s Bank, and the Long Shadow of Strawberry Hill,” pp. 287–306 (first published online 4 March 2014).

The influence of Horace Walpole’s Strawberry Hill is traced in the little-known collections created in the 1830s and early 1840s at Rosamond’s Bower by the writer and antiquary Thomas Crofton Croker (joint author of the Gooseberry Hall satire of the Strawberry Hill sale of 1842) and by Thomas Baylis and Lechmere Whitmore at The Pryor’s Bank, both at Fulham. They were active purchasers at the sale (particularly Baylis), and Walpole’s Description of Strawberry Hill is a continuing presence behind Croker’s accounts of both collections. Both houses were social spaces, presented for antiquarian display, and in the case of The Pryor’s Bank in particular that display was played out in entertainments and Dickensian amateur theatricals. An under-explored element in this combination of collecting, antiquarianism, and jocularity is the Noviomagian Society, an antiquarian dining club of which Croker was a founder and which has connections to both houses.

R E V I E W S

Jeremy Coote, Review of Holophusicon: The Leverian Museum – An Eighteenth-Century English Institution of Science, Curiosity, and Art,” pp. 317–18 (first published online 18 April 2014).

Jörg Zutter, Review of Houghton Revisited: The Walpole Masterpieces from Catherine the Great’s Hermitage, pp. 319–21 (first published online 11 June 2014).

Arthur MacGregor, Review of Natural Histories: Extraordinary Rare Book Selections from the American Museum of Natural History Library, pp. 322–23 (first published online 8 May 2014).

Peter Mason, Review of Historias Naturales: Un Proyecto de Miguel Ángel Blanco, pp. 323–24 (first published online 16 May 2014).

Charles Sebag-Montefiore, Review of Provenance: An Alternate History of Art, pp. 324–25 (first published online 18 April 2014).

 

Summer 2014 Issue of the CODART eZine

Posted in journal articles, reviews by Editor on June 15, 2014

The 4th issue of the CODART eZine focuses on the eighteenth-century:

CODART eZine 4 (Summer 2014)

Jan Ekels (1759-1793), A writer sharpening his pen, 1784 (Amsterdam: Rijksmuseum)

Jan Ekels, A Writer Sharpening His Pen, 1784
(Amsterdam: Rijksmuseum)

• Tom van der Molen, “Editor’s Note: Eighteenth-Century Art”
• Gerdien Verschoor, “Welcome: CODART Director Dies under Avalanche of Books”
• Virginie D’haene, “Bruges Artists Abroad: Neoclassicist Drawings in the Printroom of the Groeningemuseum”
• Stefaan Hautekeete, “A Cabinet of the Most Delightful Drawings: Eighteenth-Century Netherlandish Drawings from the Collection of Jean de Grez, To Be Exhibited at the Koninklijke Musea voor Schone Kunsten van België (Royal Museums of Fine Arts in Belgium) in 2016”
• René Dessing, “Historic Country Houses in the Netherlands”
• Silke Gatenbröcker, “Duke Anton Ulrich of Braunschweig-Wolfenbüttel: One of the First Collectors of Dutch Paintings outside the Netherlands”
• Jacek Tylicki, “Collecting at the Court of Poland-Lithuania and the Activities of King Stanislaus II August”
• Curator’s Interview: Paul Knolle interviewed by Andrea Rousová
• Friends: Brian Capstick interviewed by Gerdien Verschoor
• Rebecca Long, “CODART ZEVENTIEN Congress Review”

About CODART

CODART—the international council for curators of Dutch and Flemish art—aims to further the study, care, accessibility and display of art from the Low Countries in museums around the globe. It serves as a platform for exchange and cooperation between curators from different parts of the world, with different levels of experience, and from different types and sizes of institutions. Our organization stimulates international inter-museum cooperation through a variety of activities, including congresses, focus meetings, publications and our website. By these means CODART strives to solidify the cultural ties between the Netherlands and Flanders, and to make the artistic heritage of these countries accessible to the international art-loving public.